Skip to main content

Full text of "The volume of the Walpole Society"

See other formats 


THE  WALPOLE  SOCIETY 


THE   SIXTH   VOLUME 

OF 

THE    WALPOLE    SOCIETY 


r" 

a 


W 


THE 


SIXTH    VOLUME   OF   THE 


WALPOLE  SOCIETY 


I  If  !>'< 

JSSUED  ONL  Y  TO  SUBSCRIBERS 

U'1    *"       * 
" 


508472 

U».  fc.   50 


OXFORD 

PRINTED  FOR  THE  WALPOLE  SOCIETY  BY  FREDERICK  HALL 
AT  THE  UNIVERSITY  PRESS 
1918 


'  This  country,  which  does  not  always  err  in  vaunting  its  own  productions.' 

HORACE  WALPOLE'S  Anecdotes  of  Painting  in  England. 

12 

W5 


|) rrsilini! : 
THE  RIGHT  HON.  THE  EARL  OF  LYTTON 

iflTommittee: 


*AITKEN,  CHARLES 
*ARMSTRONG,  SIR  WALTER 
*BAKER,  C.  H.  COLLINS 

BARLOW,  SIR  C.  A.  MONTAGUE,  M.P. 
*BELL,  C.  F. 
*BINYON,  LAURENCE 

CAW,  J.  L. 

CLAUSEN,  GEORGE,  R.A. 

COCKERELL,  SYDNEY  C. 
*COLVIN,  SIR  SIDNEY 

CUST,  LIONEL 

DlBDIN,    E.    RlMBAULT 

*DODGSON,  CAMPBELL,  Chairman 
*FINBERG,  A.  J.,  Hon.  Secretary 
GIRTIN,  THOMAS 
*HIND,  A.  M. 


"HOLMES,    C.    J. 

*HUGHES,  C.  E.,  Hon.   Treasurer 

IMAGE,  SELWYN 

LANE,  JOHN 

LYTTON,  HON.  NEVILLE 

NORMAN,  PHILIP 

OPPK,  A.  P. 

RAWLINSON,  W.  G. 

Ross,  ROBERT 

SHORT,  SIR  FRANK,  R.A. 
*SPIELMANN,  MARION  H. 
*STRANGE,  E.  F. 
*TERRELL,  A.  A  BECKETT 
*TURNER,  C.  MALLORD  W. 

VACHER,  SYDNEY 

WILLIAMSON,  DR.  G.  C. 


*  Members  of  the  Executive  Committee. 


All  communications  and  subscriptions  should  be  sent  to — 

ALEXANDER  J.  FIN  BERG,  Hon.  Secretary, 

47,  Holland  Road,  Kensington,  W.  14. 


CONTENTS 

PAGE 

Two  ANONYMOUS   PORTRAITS   BY   CORNELIUS  JOHNSON.     BY  ALEX- 
ANDER J.  FINBERG .  1-14 

THE  LUMLEY  INVENTORIES.     BY  LIONEL  CUST I5~35 

A  LUMLEY  INVENTORY  OF  1609.     BY  MARY  F.  S.  HERVEY  36-46 

Index  of  Portraits,  Statues,  and  Artists  mentioned  in  the 

Lumley  Inventories .47-50 

Index  of  Works  of  Art  other  than  Portraits       .  .          50 

GAWEN  HAMILTON  :  AN  UNKNOWN  SCOTTISH  PORTRAIT  PAINTER.    BY 

HILDA  F.  FINBERG 51-58 

LIVERPOOL  ART  AND  ARTISTS  IN   THE    EIGHTEENTH   CENTURY.     BY 

E.    RlMBAULT    DlBDIN 59~9l 

Index 92-93 

FURTHER  LEAVES  FROM  TURNER'S   '  SOUTH  WALES  '  SKETCH-BOOK. 

BY  ALEXANDER  J.  FINBERG  ....  95-103 

Two  EARLY  WORKS  OF  SIR  JOSHUA  REYNOLDS.  .        .        .     105-110 

AN    ADDITIONAL    GHEERAERTS    ILLUSTRATION.      BY    RICHARD    W. 

GOULDING in 

THE  PAPERS  OF  THE  SOCIETY  OF  ARTISTS  OF  GREAT  BRITAIN  .        .     113-130 

Introduction     ...  .113-115 

Calendar  of  Papers  from  12  Nov.  1759  to  31  July  1761       116-127 
Index  of  Names  of  Artists  and  of  those  who  received 

Charity       .  .  128-130 


LIST   OF    PLATES 

PLATE 

Frontispiece,    see  Plate  XXXIX. 

I.     Portrait  of  John  Digby,  ist  Earl  of  Bristol.     By  Cornelius  Johnson, 

1628. 
II.     (a)  Enlargement  of  the  Seal  Ring  in  Johnson's  Portrait  of  the  ist  Earl 

of  Bristol. 

(b)  The  ist  Earl  of  Bristol.    An  Engraving  published  about  1623, 
perhaps  by  R.  Elstrack. 

III.  Van  Dyck  and  the  Earl  of  Bristol.     By  Sir  Anthony  Van  Dyck. 

IV.  (a)  Endymion  Porter.     By  William  Dobson. 

(b)  Endymion  Porter.     Part  of  a  drawing  by  Van  Dyck. 
V.     Portrait  of  an  Unknown  Man.     By  Cornelius  Johnson. 
VI.     Philip  Herbert,  Earl  of  Montgomery  (afterwards  Earl  of  Pembroke). 
Reversed  from  the  Engraving,  made  before  1623,  by  Simon 
de  Passe. 

VII-XV.     DRAWINGS  IN  THE  LUMLEY  INVENTORY. 

VII.     Sculptures  in  Great  Hall,  Lumley  Castle. 
VIII.     (a)  Conduit  in  Court,  Lumley  Castle. 

(b)  Hall  Screen  and  Lavabo,  Lumley  Castle. 
IX.     (a)  Fountain. 
(b)  Fountain. 
X.     (a)  Lavabo  and  Screen,  Lumley  Castle. 

(b)  Marble  Serving  Table,  Lumley  Castle. 

(c)  Fountain. 

(d)  Obelisk  with  Arms  of  Lord  Lumley. 

XI.     (a)  Column  with  Crest  of  Lord  Lumley,  and  Two  Tables. 

(b)  Column  with  Crest  of  Lord  Lumley. 

(c)  Fountain  and  Table. 

(d)  Fountain. 
XII.    (a)  Tables. 

(b)  Tables. 
XIII.    (a)  Tables. 

(b)  Mantelpiece. 


x  LIST  OF   PLATES 

PLATE 

XIV.     (a)  Design  for  Tomb  of  Lord  Lumley,  Cheam  Church. 

(b)  Design  for  Tomb  of  Jane  Fitzalan,  Lady  Lumley,  Cheam  Church. 
XV.     Design   for  Tomb    of  Elizabeth    D'Arcy,  Lady  Lumley,  Cheam 
Church. 

XVI.    An  Artists'  Club  in  1735.     By  Gawen  Hamilton. 
XVII.     Part  of  Vertue's  Note  on  Hamilton's  Group  of  Artists. 
XVIII.     The  Revd.  Thomas  Pocock.     By  Gawen  Hamilton.     Engraved  in 

mezzotint  by  J.  Faber,  junr.,  1726. 

XIX.     Warren  Hastings  on  Horseback.     By  George  Stubbs,  1791. 
XX.     (a)  Haymakers.     By  George  Stubbs,  1794. 
(b)  Hay  Carting.     By  George  Stubbs,  1795. 
XXI.     (a)  The  Haymakers.     By  George  Stubbs,  1783. 

(b)  The  Reapers.     By  George  Stubbs,  1783. 
XXII.     Josiah  Wedgwood  on  Horseback.     By  George  Stubbs. 
XXIII.     A  Philosopher  giving  that  Lecture  on  the  Orrery,  in  which  a  Lamp 

is  put  in  the  Place  of  the  Sun.     By  Joseph  Wright. 
XXIV.    (a)  View  of  the  Custom  House,  taken  from  Trafford's  Wyent,  1773. 

By  Peter  Perez  Burdett. 

(b)  A  Seapiece,  with  a  Squall  of  Rain.     By  Richard  Wright,  1764. 
XXV.    (a)  Richard  Caddick.     By  Himself. 

(b)  George  Stubbs  (?).     By  Richard  Caddick  (?). 

(c)  George  Stubbs.     By  Ozias  Humphry. 
XXVI.     (a)  Cattle.     By  Charles  Towne. 

(b)  Landscape,  by  Rathbone,  with  figures  by  Fairfield. 
XXVII.     (a)  Landscape.     By  Rathbone. 
(b)  Landscape.     By  Rathbone. 

XXVIII.     (a)  Thomas    Johnson,    Mayor    of    Liverpool,    1767.      By   Henry 
Pickering. 

(b)  Wife   and   daughter  of  Thomas   Johnson,    1767.      By    Henry 

Pickering. 

(c)  Richard  Chaffers.     By  Thomas  Chubbard. 

(d)  Aaron  Wood.     By  William  Caddick,  1747. 

XXIX.     (a)  William  Roscoe,  when  a  young  Man.     By  Richard  Caddick. 

(b)  Mrs.  Proudlove  (nee  Elizabeth  Wood).      By  Richard  Caddick, 

1768. 

(c)  Conversation  Piece.     By  Richard  Caddick. 

XXX.     (a)  James,  loth  Earl  of  Derby.     By  Hamlet  Winstanley.    Engraved 

by  Van  der  Gucht. 

(b)  Mrs.  Hamlet  Winstanley.  By  Hamlet  Winstanley.  Engraved  by 
J.  Faber. 


LIST  OF   PLATES  xi 

PLATE 

XXXI.    (a)  The  Liverpool  Library  and  Academy.    Drawn  by  Charles  Eyes, 

1799. 

(b)  Joseph  Brooks,  Treasurer  of  the  Parish  of  Liverpool.   By  Richard 
Caddick,  1774. 

XXXII-XLI.     DRAWINGS  FROM  TURNER'S  '  SOUTH  WALES'  SKETCH  BOOK. 

XXXII.  St.  David's  Head,  from  Porthsallie  Bay. 

XXXIII.  The  Bishop's  Throne,  St.  David's  Cathedral. 

XXXIV.  The  Cascade,  Hampton  Court,  Herefordshire. 
XXXV.  Water-Colour  Drawing  of  The  Cascade. 

XXXVI.  The  Market-Place,  Ross. 

XXXVII.  The  West  Gate  Bridge,  Gloucester. 

XXXVIII.  The  Corona,  Canterbury  Cathedral,  with  the  Chair  of  St.  Augustine. 

XXXIX.  Maidstone  Bridge,  with  Houses  and  Shipping,  1798.    (Frontispiece.) 

XL.  Allington  Castle,  near  Maidstone,  1798. 

XLI.  Christ  Church,  Oxford. 

XLII.  Captain  Roberts,  R.N.     By  Sir  Joshua  Reynolds,  1747. 
XLI  1 1.  Thomas  and    Martha   Neate  with   their  Tutor.      By   Sir  Joshua 

Reynolds,  1748. 
XLIV.  Portrait  supposed  to  represent  Frances  Howard,  Countess  of  Essex 

and  Countess  of  Somerset.    Probably  by  Marcus  Gheeraerts 

the  younger. 


TWO    ANONYMOUS    PORTRAITS    BY   CORNELIUS 

JOHNSON 
BY  ALEXANDER  J.  FINBERG. 

CORNELIUS  JOHNSON  was  born  in  London,  and  not,  as  Walpole  thought,  in 
Amsterdam.  This  point  was  settled  by  the  publication  of  Mr.  Lionel  Gust's 
notes  on  '  Foreign  Artists  of  the  Reformed  Religion  working  in  London 
from  about  1560  to  1660'  (Proceedings  of  the  Huguenot  Society  of  London, 
vol.  vii),  in  which  attention  was  drawn  to  the  following  entry  in  the  registers  of 
the  Dutch  Church  at  Austin  Friars  : 

'  14  Oct.  1593.     JANSZ.  Cornelis,  f.  Cornells.' 

This  is  believed  to  refer  to  the  baptism  of  the  artist  who  is  usually  described  as 
Cornelius  Jansen,  or  Janssen  van  Ceulen,  who  lived  and  worked  in  England, 
so  far  as  we  know,  from  the  date  of  his  birth  till  the  outbreak  of  the  Civil 
War  in  1643,  when  he  went  to  Holland.  During  these  fifty  years  the  artist 
seems  to  have  regarded  himself  as  an  Englishman  and  to  have  called  himself 
Cornelius  Johnson.  Pictures  by  him  dated  1619,  1620,  1621,  and  1634  (at 
Northwick  Park,  the  Holburne  Art  Museum,  Bath,  Welbeck  Abbey,  Lord  Falk- 
land's, and  Woburn)  are  known  to  me  which  are  signed  in  full  'Cornelius 
Johnson '.  It  is  also  evident,  as  Mr.  Cust  has  pointed  out  (Burlington  Magazine, 
February  1910),  that  the  painter  was  desirous  of  being  recognized  as  an  English 
armigerous  gentleman,  for  he  supplied  the  following  pedigree  to  the  Herald's 
Visitation  of  London,  1633-5,  by  Sir  Henry  St.  George,  Richmond  Herald 
(published  by  the  Harleian  Society  in  1883) : 

Peter  Johnson  of  Cullen=T= 


John  Johnson  of  the  City  of  Antwerpe=j=Ephemia  von  Cuchelen. 


T 


Cornelius  Johnson  of  Antwerpe=f=Jane  le  Grand. 
I 


Cornelius  Johnson  of  the  Blackfryars,  London=j=Elizabeth  do.  of  Mr.  Beek. 

I 

Cornelius  Johnson,  sonne  and  heir. 
Johnson's  family  therefore  came  originally  from  Cologne  to  Antwerp,  and  from 

VI.  B 


2  TWO  ANONYMOUS   PORTRAITS 

Antwerp  to  London,  and  they  were  probably  among  the  refugees  from  the 
Duke  of  Alva's  persecution  in  1568.  The  registers  of  the  Dutch  Church  also 
contain  the  entry  of  the  artist's  marriage  on  July  16,  1622,  to  '  Elizabeth  Beke 
of  Colchester '. 

But  after  Johnson  left  England  in  1643  he  seems  to  have  modified  the 
spelling  of  his  name.  In  Mrs.  Stewart  Mackenzie's  collection  I  have  seen 
a  portrait  of  an  'Unknown  Lady',  signed  'Cornelius  Jonson  van  Ceulen,  fecit. 
1654 ',  and  another  '  Unknown  Lady ',  owned  till  recently  by  Mrs.  Joseph,  dated 
1655,  is  signed  in  the  same  way;  as  is  also  the  portrait  of  ' Adriaan  van  Blyen- 
burgh',  dated  1654,  in  the  Rijks-Museum  at  Amsterdam. 

With  Johnson's  work  after  1643  the  Walpole  Society  is  not  directly  con- 
cerned, but  his  work  before  1643  is  of  very  great  interest  to  us.  An  English- 
man by  birth,  and,  so  far  as  we  know,  trained  entirely  in  England,  his  works 
stand  out  from  the  mass  of  contemporary  portraits  painted  here  by  Dutch 
and  Flemish  artists  as  typically  national  in  feeling  and  sentiment.  Johnson  is 
certainly  one  of  the  first  of  the  great  English  portrait-painters  outside  the  ranks 
of  the  miniaturists,  and,  if  only  for  this  reason,  the  Walpole  Society  ought  to 
regard  it  as  one  of  its  pressing  duties  to  make  his  works  better  known  and  more 
widely  appreciated  than  they  are  at  present.  In  addition  there  is  the  historical 
interest  of  his  work.  From  about  1616  to  1643  he  was  the  portrait-painter  par 
excellence  of  the  English  nobility  and  gentry.  In  bulk  his  work  of  this  kind 
greatly  outnumbers  that  of  any  artist  of  the  period  ;  and  in  quality,  as  truthful, 
sincere,  and  sympathetic  portraiture,  his  works  are  more  precious  than  those  of 
any  of  his  rivals,  English  or  foreign.  Anything  like  a  complete  series  of  repro- 
ductions of  Johnson's  English  portraits  would  do  much  towards  the  establish- 
ment of  his  reputation,  and  I  hope  that  at  no  very  distant  date  the  Walpole 
Society  will  be  in  a  position  to  publish  something  of  the  kind.  Much  of  the 
work  involved  in  such  a  publication  is,  fortunately,  already  done,  but  for  what 
remains  to  be  done  I  am  afraid  we  must  wait  till  the  War  is  over. 

On  the  present  occasion  I  can  only  hope  to  introduce  the  subject  of  Corne- 
lius Johnson's  work  in  England  by  offering  a  note  on  his  anonymous  portraits, 
with  special  reference  to  two  of  them  which  I  believe  I  may  possibly  have 
identified. 

Probably  few  of  the  portraits  Johnson  painted  in  England  have  been 
destroyed,  and  those  which  have  been  preserved  have  generally  been  well  taken 
care  of.  But  in  a  number  of  cases  these  works  have  become  separated  from  the 
families  for  which  they  were  originally  painted,  and  the  names  of  the  men  and 
women  they  represent  are  either  lost  or  else  have  become  confounded.  The 
result  is  that  the  student  of  Johnson's  work  is  confronted  with  a  mass  of  portraits 
of  unknown  persons,  which  are  scattered  among  private  and  public  collections, 
whose  owners  or  keepers  know  only  that  they  were  picked  up  at  auction  or 


BY   CORNELIUS  JOHNSON  3 

bought  through  dealers  who  had  no  record  of  the  families  from  which  they  were 
derived. 

The  loss  of  the  names  of  the  sitters  is  a  much  greater  loss  in  the  case  of 
Johnson's  portraits  than  in  those  of  any  other  contemporary  portrait-painter  in 
England.  In  appreciation  of  character,  in  psychological  insight  and  sympathy, 
and  in  the  delicacy  and  precision  of  his  rendering  of  the  personality  of  his 
sitters,  Johnson  surpasses  all  the  portrait-painters  who  worked  in  England 
during  his  time.  In  Van  Dyck's  case,  for  instance,  it  matters  little  whether  the 
names  of  his  English  sitters  are  known  or  not,  because  Van  Dyck  cared  little  for 
the  personality  of  his  sitters.  He  painted  the  typical  cavalier,  his  lady,  and  his 
frail  friends ;  he  tricked  them  out  with  all  the  skill  of  a  modern  actor-manager 
in  splendid  finery,  and  surrounded  them  with  an  atmosphere  of  romantic  and 
theatrical  pathos.  He  was  not  concerned  so  much  to  paint  portraits  as  to 
produce  incomparable  decorations  and  backgrounds  for  stately  dining-rooms 
and  lordly  saloons.  It  is  true  that  he  never  descended  to  the  depths  of  gross, 
unblushing  servility  and  flattery  to  which  his  master,  Rubens,  fell  in,  let  us  say, 
the  Medici  series  in  the  Luxembourg,  or  the  odious  equestrian  portrait  of  the 
Duke  of  Buckingham,  at  Osterley  Park.  Van  Dyck's  flatteries  and  untruths  are 
infinitely  more  tactful  than  Rubens's  bombastic  absurdities.  But  it  is  always 
with  the  clothes,  rank,  and  worldly  possessions  of  his  sitters  that  Van  Dyck  is 
primarily  concerned  ;  their  personality  was  merely  the  subject  of  a  hasty  and 
superficial  glance  intended  to  give  a  touch  of  actuality  to  a  plausible  pictorial 
compliment  or  a  specious  and  interesting  fable.  I  yield  to  no  one  in  admiration 
of  Van  Dyck's  pictorial  mastery  and  fertility,  but  as  a  portrait-painter  I  find  that 
his  works — I  am  speaking  in  particular  of  his  portraits  painted  in  England  of 
people  of  less  than  royal  rank— have  a  vitiated  historical  and  only  a  meagre 
personal  interest.  And  if  any  of  his  indiscriminate  admirers  wish  to  differ  from 
me,  I  shall  ask  them  to  compare  Johnson's  portrait  of  the  shy,  gentle,  winning 
and  adorable,  if  slightly  '  melancholic ',  Dorothy  Percy,  the  mother  of  '  Sacha- 
rissa',  which  some  years  ago  was  in  the  possession  of  Messrs.  Wallis  and  Son, 
of  the  French  Gallery,  with  the  flaunting  and  commonplace  hussy  of  Van  Dyck's 
portrait  of  the  same  lady  in  the  Basildon  Park  and  Petworth  collections,  and 
tell  me  frankly  which  of  the  two  has  the  greater  value  and  interest  as  an  historical 
or  human  document. 

The  loss  of  the  names  of  a  considerable  number  of  Johnson's  portraits 
seems  to  me,  therefore,  a  very  serious  loss  from  the  artistic  as  well  as  from 
the  historical  point  of  view.  It  prevents  us  from  connecting  what  we  know  or 
might  know  about  the  sitter  with  the  portrait,  and  thus  hinders  us  from  fully 
understanding  and  appreciating  the  artist's  work,  and  it  prevents  us  from  using 
the  artist's  work  to  illustrate  and  amplify  our  knowledge  of  history.  I  have 
no  doubt  that  some  of  our  '  advanced '  critics  will  sneer  at  me  for  saying 

B  2 


4  TWO  ANONYMOUS   PORTRAITS 

this,  because,  according  to  their  theories,  it  is  even  an  advantage  not  to  know 
the  name  of  the  person  represented  in  a  portrait,  as  the  attention  is  then 
concentrated  on  the  painting  itself,  and  the  temptation  to  supplement  what  they 
see  with  what  they  consider  irrelevant  knowledge  is  thus  removed.  Other 
critics  like  anonymous  portraits  because  their  active  fancy  is  thus  free  to  imagine 
anything  they  please  about  the  unknown  sitters.  But  I  must  confess  that  I  am 
sufficiently  old-fashioned  to  want  to  know  the  name  of  the  person  represented  in 
a  portrait,  and  that  the  absence  of  such  knowledge,  especially  when  Johnson's 
works  are  concerned,  seems  to  me  a  serious  loss.  I  know  that  when  looking  at 
some  of  his  portraits  of  unknown  men  and  women,  after  I  have  admired  the 
beautiful  workmanship,  the  subtle  drawing,  the  delicate  and  masterly  modelling, 
and  the  exquisite  surface  of  the  paint,  I  have  always  found  myself  wondering 
who  the  sitters  may  have  been,  what  rank  in  society  they  have  moved  in,  and 
what  fortunes  and  misfortunes  life  may  have  held  for  them.  The  absence  of  the 
usual  clues  to  such  knowledge  has  always  mingled  an  element  of  loss  and  dis- 
appointment— as  of  something  baffling  and  tragic — with  the  enjoyment  derived 
from  the  picture  itself.  The  work  itself  to  my  mind  lacked  completeness, 
because  it  did  not  evoke  the  full  measure  of  understanding  and  sympathy  which 
it  was  intended  to  promote.  There  was  a  delightful  personality,  I  seemed  to  feel, 
full  of  human  qualities  and  subtly  individualized,  thrown  into  the  air,  as  it  were, 
and  obstinately  refusing  to  take  any  definite  place  in  the  ordered  system  of  our 
knowledge  and  experience. 

I  believe  most  people  with  any  historical  sense  feel  as  I  do  on  this  subject, 
and  the  better  the  portrait,  as  a  rendering  of  individual  features  and  character, 
the  more  urgent  is  the  demand  to  give  it  a  definite  place  in  our  knowledge 
of  the  past.  The  task  of  identifying  some  of  these  unknown  portraits  which 
Johnson  has  left  us  therefore  seems  to  me  worth  attempting,  in  spite  of  the  many 
difficulties  one  has  to  overcome  before  it  can  be  done. 

One  of  the  chief  difficulties  is  due  to  what  may  be  called  the  personal 
equation  in  the  art  of  the  portrait-painter.  Every  artist  possesses  certain  habits 
of  seeing  and  painting,  so  that  portraits  of  the  same  person  painted  by  different 
artists  differ  among  themselves  to  a  quite  alarming  extent.  The  most  careful 
observer  is  often  doubtful  as  to  the  identity  of  the  sitter,  even  when  the  ex- 
ternal evidence  seems  to  leave  no  room  for  doubt,  while  the  similarities  of 
handling  and  treatment  generally  enable  the  properly  qualified  student— I  am 
not  referring  to  the  so-called  '  experts '  of  the  law-courts— to  single  out  correctly 
each  artist's  work.  In  the  case  I  have  alluded  to  above,  it  is  easier  to  be  sure 
that  one  is  dealing  with  a  painting  by  Johnson  and  another  by  Van  Dyck  than 
that  they  both  represent  the  same  person.  One  could  never  have  identified 
the  sitter  in  the  Johnson  simply  on  the  strength  of  the  portrait's  similarity  to 
the  Van  Dyck,  nor  the  Van  Dyck  on  the  evidence  of  the  Johnson.  It  is  only  in 


PLATE   I 


PORTRAIT    OF   JOHN    DIGBY,    1ST    EARL   OF    BRISTOL 

BY    CORNELIUS    JOHNSON,    1628 

(^National  Gallery  of  Ireland,  No.  584,  catalogued  <is  '  Portrait  of  a  Man") 


BY   CORNELIUS  JOHNSON  5 

cases  where  the  external  evidence  settles  the  question  of  the  sitter's  identity 
that  one  can  realize  how  very  much  even  great  artists  differ  in  their  repre- 
sentations of  the  same  object.  So  that  where  all  external  evidence  is  missing 
as  to  the  identity  of  the  sitter,  and  one  is  forced  to  fall  back  upon  a  com- 
parison of  Johnson's  likenesses  with  those  known  ones  of  Van  Dyck,  Mytens, 
and  his  other  contemporaries,  it  is  necessary  to  be  very  cautious  in  coming  to 
any  positive  conclusions. 

Fortunately,  in  the  case  of  the  first  portrait  I  have  now  to  deal  with,  we  are 
not  forced  to  rely  upon  such  unsatisfactory  evidence.  This  is  a  '  Portrait  of  a 
Man ',  now  in  the  National  Gallery  of  Ireland  (No.  584).  It  was  bought  in  1907 
from  Mr.  A.  H.  Buttery,  who  had  bought  it  at  auction,  and  had  therefore  no  record 
with  it  of  its  earlier  history.  Sir  Walter  Armstrong,  who  was  director  of  the 
Gallery  at  that  time,  was  evidently  attracted  by  the  picture  as  a  fine  piece  of 
painting  by  an  English  artist.  The  price  paid  for  it,  about  a  hundred  pounds, 
seems  ridiculously  small  when  one  compares  it  with  the  ^13,500  paid  about  the 
same  time  by  another  gallery  for  the  two  Cattaneo  portraits  by  Van  Dyck. 
The  Irish  people  have  indeed  good  reason  to  congratulate  themselves  on 
the  acumen  and  good  judgement  of  the  director  of  their  national  gallery  at 
that  time. 

The  person  represented  in  this  portrait  is  a  man  of  aristocratic  bearing, 
evidently  in  the  prime  of  life.  His  hair  is  black,  he  has  a  fresh-coloured  com- 
plexion, and  a  brown  beard  and  moustache.  A  black  cloak  is  thrown  round  his 
shoulders.  The  painting  is  smooth,  very  delicate,  and  the  paint,  though  liquid, 
is  not  thin.  There  are  some  beautiful  grey  tints  on  the  forehead,  and  on  the 
upper  parts  of  the  cheeks  and  round  the  eyes.  Were  the  picture  not  signed 
one  could  be  certain  that  it  was  by  Cornelius  Johnson,  and  it  is  a  particularly 
fine  specimen  of  his  handiwork.  Though  the  catalogue  states  that  it  was 
'  Painted  about  1625',  the  signature  'C.  J.  fecit.  1628'  leaves  no  doubt  as  to  the 
exact  date  of  the  picture. 

The  unconventionality  and  haughty  neglige  of  the  dress,  as  well  as  the 
aristocratic  bearing  and  appearance  of  the  sitter,  persuaded  me  that  the  portrait 
was  that  of  an  important  person,  probably  a  nobleman.  I  thought  at  first  that 
by  going  completely  through  the  known  portraits  of  the  English  nobility  of  the 
time  I  should  have  no  difficulty  in  identifying  him.  But  I  was  too  sanguine. 
After  wasting  several  days  I  felt  I  had  better  follow  up  the  clue  provided  by  the 
arms  on  the  ring  which  is  attached  to  the  sitter's  band-strings.  It  would  have 
been  wiser  to  have  followed  up  this  clue  first,  but  I  thought  that  the  Museum 
authorities  would  surely  have  examined  this  clue,  and  as  no  name  had  been 
given  to  the  portrait  I  assumed  that  it  had  yielded  no  result ;  besides  I  did  not 
feel  at  all  sure  that  the  arms  on  the  ring  would  be  those  of  the  sitter — it  might 
well  be,  I  thought,  that  the  ring  was  simply  worn  as  a  memento  of  some  friend, 


6  TWO  ANONYMOUS   PORTRAITS 

and  that  the  arms  would  be  those  of  the  friend.  However,  as  soon  as  I  could 
get  a  photographic  enlargement  of  the  ring  (see  Plate  n  (a))  I  showed  it  to  my 
friend,  Mr.  Van  der  Put,  who  recognized  the  arms  at  once  as  those  of  the 
Digby  family.  Reference  to  James  Yorke's  Union  of  Honour  (1641)  proved  that 
Mr.  Van  der  Put  was  right.  The  arms,  '  Azure,  a  flower  de  luce  argent,  with 
a  Mullet  for  a  difference ',  are  there  given  as  those  of  '  Sir  John  Digby  Knight, 
(third  and  youngest  sonne  of  Sir  George  Digby  Knight,  of  Coleshull  in  the 
County  of  Warwicke,  by  Abigail  his  wife,  daughter  of  Sir  Anthony  Hevningham 
of  Keteringham  in  Norfolke  Knight)  hee  was  first  created  Baron  Digby  of  Sher- 
borne,  in  the  County  of  Dorset ;  the  25.  of  November  1618.  and  afterward  by 
favour  of  King  James,  he  was  created  Earle  of  Bristoll  the  15.  of  September, 
1622.  Hee  was  also  Vicechamberlaine  to  his  Majesty,  and  one  of  his  Majesties 
most  honourable  Privie-Councell,  and  was  five  times  imployed  upon  severall 
Embassages  unto  forraigne  Princes.  He  married  Beatrice,  daughter  of  Charles 
Walcot  of  Walcot,  in  the  County  of  Salop,  Esquire,  widow  of  Sir  John  Dive  of 
Bromham,  in  the  County  of  Bedford,  by  whom  he  had  issue  Mary  their  eldest 
daughter,  married  to  the  eldest  son  of  the  Viscount  Chicester  of  Ireland,  George 
Lord  Digby,  borne  at  Madril  in  Spaine,  and  hath  married  Anne,  daughter  to  the 
Earle  of  Bedford  :  Abigail  married  to  ....  Freake  :  John  unmarried.' 

That  the  arms  are  those  of  the  original  of  the  portrait,  and  not  of  a  friend, 
as  I  had  at  first  supposed,  is  proved  by  comparing  the  portrait  with  the  engraving, 
perhaps  by  R.  Elstrack,  which  is  here  reproduced  (Plate  n  (b)).  There  is  no  date 
nor  painter's  name  on  the  engraving,  but  the  inscription  shows  that  it  was  pro- 
bably published  about  1623,  and  certainly  before  the  death  of  James  in  1625.  It 
therefore  represents  the  Earl  a  few  years  younger  (probably  five)  than  Johnson's 
portrait,  but  the  likeness  is  unmistakable. 

This  engraving  I  think  settles  the  matter.  The  portrait  of  an  unknown  man 
in  the  National  Gallery  of  Ireland  we  may  safely  assume  is  a  portrait  of  John 
Digby,  first  Earl  of  Bristol,  painted  in  1628,  when  he  was  forty-two  years  of  age. 
Any  lingering  doubts  we  may  have  on  the  subject  seem  to  be  dispelled  by  the 
following  entry  in  Vertue's  MSS.  (B.M.  Add.  23071,  f.  45  (p.  74)),  which  my  wife 
has  recently  drawn  my  attention  to  :  '  John  Ld.  Digby  Earl  of  Bristol,  these 
Armes  on  a  Seal  ring  hanging  to  his  band  string,  a  head  in  an  Oval,  well 
preserv'd.  C.  J.  fecit.  1628.  Earl  of  Oxford.'  A  rough  sketch  of  the  arms, 
a  fleur-de-lys  with  a  mullet,  accompanies  these  words,  and  the  signature,  with 
the  characteristic  flourish  around  the  date,  is  carefully  copied  and  agrees  with 
that  on  the  Dublin  portrait.  Vertue's  note  was  written  between  1732  and  1736, 
and  it  leads  one  to  suppose  that  Vertue  saw  this  picture  at  that  time  in  the 
house  of  his  friend  and  patron,  Edward  Harley,  second  Earl  of  Oxford  and 
Mortimer.  Perhaps  further  research  may  throw  light  on  the  history  of  the 
picture  between  that  date  and  the  year  1905,  when  it  appeared  at  Christie's. 


PLATE  II 


(a)      ENLARGKME.NT   OF    THE    SEAL    RING    IN   JOHNSON'S 
PORTRAIT   OF    THE    1ST    EARL   OF    BRISTOL 


.Barm  ct  jSmlxirnttytcc  Chambfrlainc  to  .- 
ivii  one  ff  we  J^ords  of  his  Maiffnfs  moft.  Hm 
prtrr  Ct>un/fll .•aiia'Eml'iilsaJer  efltnutaSury  to 
inuL^lijlrntJrhilta  tkt Jourth  kiruj  M  Z 


(b)      THE    1ST   EARL   OF    BRISTOL 

AN     ENGRAVING    PUBLISHED   ABOUT    1623 

PERHAPS    BY    R.    ELSTRACK 

(From  Print  in  the  Print  Room,  British  Miistuni) 


PLATE    III 


.. 
: 

/ 


tt 
u 

w 

- 

H 

Q 
Z 


U 

a 

X. 


u: 

u 


Q 
2 


: 

I 
•^ 

I 


£  3  s 

2    *    f 

£  1  I 


G  S 


s 

i 


:    BY  CORNELIUS  JOHNSON  7 

There  are  few  other  portraits  known  of  John  Digby,  though  portraits  of 
his  son,  George  Digby,  the  second  Earl,  are  numerous.  In  the  National  Por- 
trait Exhibition  of  1866,  what  purported  to  be  a  portrait  of  the  first  Earl,  by 
Cornelius  Johnson,  was  exhibited  (No.  539)  by  Mr.  G.  Digby  Wingfield  Digby 
of  Sherborne  Castle.  This  picture  is  included  by  Mr.  C.  H.  Collins  Baker  in 
his  list  of  Johnson's  works  (Lely  and  the  Stuart  Portrait  Painters,  vol.  ii,  p.  113), 
and  he  describes  it  as  a  signed  and  dated  picture,  the  date  being  1628.  I  have 
not  been  able  to  see  this  picture,  but  the  photograph  taken  at  the  time  of  the 
exhibition  proves  that  either  Mr.  Baker's  date  is  wrong  or  else  that  the  portrait 
is  incorrectly  named.  The  photograph  shows  a  young  man  of  under  twenty, 
and  John  Digby  was  born  in  1586.  It  may,  however,  represent  George  Digby, 
the  second  Earl,  who  was  born  in  1612.  If  Mr.  Baker's  information  is  correct, 
Johnson  then  painted  the  son  at  the  same  time  that  he  painted  the  father, 
and  the  portrait  exhibited  in  1866  may  perhaps  represent  the  second  Earl  of 
Bristol  at  the  age  of  sixteen. 

In  the  Prado  Gallery  at  Madrid  there  is  a  double  portrait  by  Van  Dyck 
(Plate  in),  which  is  catalogued  as  'Van  Dyck  and  the  Earl  of  Bristol'.  Smith, 
in  his  Catalogue  raisonne' of  Flemish  Painters,  was  the  first,  so  far  as  I  am  aware, 
to  throw  doubts  on  the  official  description.  In  his  list  of  Van  Dyck's  works 
he  boldly  describes  this  picture  as  '  Portraits  of  the  Artist  and  Sir  Endymion 
Porter '  (No.  745).  M.  Guiffrey  followed  Smith  when  he  published  this  picture 
in  the  Gazette  des  Beaux-Arts  for  1893,  and  as  the  frontispiece  to  his  big  book 
on  Van  Dyck.  The  reasons  he  gives  for  this  are  curious.  '  C'est  a  tort ',  he 
writes,  '  que  le  catalogue  du  musde  de  Madrid  donne  au  gros  personnage  qui 
accompagne  Antoine  sur  ce  tableau  le  nom  de  George  Digby,  comte  de  Bristol. 
Smith  ne  s'y  est  pas  tromp6,  et  la  comparaison  d'un  portrait  d'Endymion  Porter, 
peint  par  Dobson  et  grave  par  W.  Faithorne,  avec  la  toile  de  Madrid,  leve  toute 
incertitude.  Au  surplus,  le  comte  de  Bristol  n'est  pas  un  etre  imaginaire.  II 
revit  sur  d'autres  toiles  de  Van  Dyck.  Un  grand  tableau  de  la  collection  du 
Comte  Spencer,  ^  Althorp,  rdunit  les  figures  en  pied  du  comte  de  Bristol  et  de 
William,  premier  due  de  Bedford  '  (pp.  174-5).  It  is  almost  unnecessary  for  me 
to  point  out  to  the  members  of  the  Walpole  Society  that  Lord  Spencer's  fine 
Van  Dyck  contains  the  portrait  of  George  Digby,  the  second  Earl  of  Bristol, 
and  that  comparison  of  this  portrait  with  that  at  Madrid  simply  proves  that 
the  latter  portrait  cannot  represent  the  second  Earl.  It  may,  therefore,  very 
well  represent  the  first  Earl,  which  is  doubtless  what  the  official  description 
was  meant  to  convey.  But  the  similarity  between  the  Madrid  portrait  and  the 
Dobson  portrait  engraved  by  Faithorne  is  a  more  serious  objection.  This 
picture  is  now  in  the  National  Gallery  (No.  1249),  and  it  is  catalogued  as  a  por- 
trait of  Endymion  Porter  (Plate  iv  (a)). 

The  sketch  by  Van  Dyck  of  Endymion  Porter,  now  in  the  British  Museum 


8  TWO  ANONYMOUS   PORTRAITS 

(reproduced  Plate  iv  (£)),  supports  this  description.  But  it  is  evident  from  Jean 
Varin's  medallion  portrait  of  Porter,  made  in  1635,  that  Porter  resembled  the 
Earl  of  Bristol  in  appearance,  so  that  the  superficial  resemblance  between 
Dobson's  portrait  in  the  National  Gallery  and  Van  Dyck's  portrait  in  Madrid 
cannot  be  taken  to  prove  that  the  latter  represents  Endymion  Porter.  Careful 
comparison  between  Van  Dyck's  sketch  and  Dobson's  portrait  of  Porter  with  the 
head  at  Madrid  reveals  so  many  small  differences  in  the  features  that  it  seems 
rather  over-bold  to  reject  too  confidently  the  traditional  name  of  the  Earl  of 
Bristol. 

As  to  whether  the  Madrid  portrait  represents  John  Digby  or  Endymion 
Porter  there  is  no  one  whose  views  will  deservedly  carry  so  much  weight  as 
those  of  Mr.  Lionel  Cust,  and  he  rejects  unhesitatingly  M.  Guiffrey's  proposed 
identification.  In  his  exhaustive  study  of  Van  Dyck's  life  and  works  (published 
in  1900),  he  says :  '  Endymion  Porter  has  usually  been  identified  as  the  com- 
panion of  Van  Dyck  in  the  well-known  double  portrait  in  the  Prado  Gallery  at 
Madrid.  It  is  difficult  to  recognize  in  the  stout  and  rubicund  personage  here 
represented  the  subject  of  the  portraits  by  Van  Dyck  and  Dobson.  It  would 
seem  more  probable  that  the  portrait  is  that  of  another  friend  and  patron  of 
Van  Dyck,  John  Digby,  first  Earl  of  Bristol,  who  had  been  ambassador  to  the 
Court  of  Spain  '  (p.  133).  And  in  Mr.  Gust's  smaller  but  carefully-revised  Van 
Dyck,  published  in  1906,  the  Prado  portrait  is  catalogued  as  '  Sir  Anthony  Van 
Dyck  and  John  Digby,  first  Earl  of  Bristol.  Double  portrait,  half-length  figures, 
about  1640'.  The  most  recent  edition  of  the  Prado  official  catalogue  also 
upholds  the  traditional  description  of  the  portraits. 

If  the  date  Mr.  Cust  suggests  for  this  picture  be  correct  Van  Dyck's  por- 
trait was  painted  about  twelve  years  later  than  Johnson's.  The  passage  of  years, 
and  the  easy  and  luxurious  life  which  the  Earl  had  led  after  his  breach  with 
the  Court,  have  coarsened  and  fattened  his  once  fine  features,  yet  the  two 
portraits  seem  to  be  of  the  same  man.  If  they  are,  they  supplement  one  another. 
They  illustrate  admirably  the  superb  character  sketch  which  Clarendon  has 
given  us,  and  Clarendon's  stately  prose  gives  an  added  value  and  impressiveness 
to  these  two  fine  paintings. 

Clarendon's  '  character '  of  Bristol  is  given  in  the  sixth  book  of  his  History 
of  the  Rebellion,  &c.  'The  earl  of  Bristol',  he  wrote,  'was  a  man  of  a  grave 
aspect,  of  a  presence  that  drew  respect,  and  of  long  experience  in  affairs  of 
great  importance.  He  had  been,  by  the  extraordinary  favour  of  king  James 
to  his  person  (for  he  was  a  very  handsome  man)  and  his  parts,  which  were 
naturally  great,  and  had  been  improved  by  a  good  education  at  home  and  abroad, 
sent  ambassador  into  Spain,  before  he  was  thirty  years  of  age  ;  and  afterwards 
in  several  other  embassies ;  and  at  last,  again  into  Spain ;  where  he  treated  and 
concluded  the  marriage  between  the  prince  of  Wales  and  that  infanta ;  which 


PLATE   IV 


(a)         ENDYMION    PORTER 

BY    WILLIAM    DOBSON 

(Na/ii»ial  Gull  fry,  No.  1249^ 


(b)      ENDYMION    PORTER 

(Part  of  a  drawing  by  Van  Dyck,in  the  Print  Room.  British  Museum 


BY   CORNELIUS  JOHNSON  9 

was  afterwards  dissolved.  He  was  by  king  James  made  of  the  privy-council, 
vice-chamberlain  of  the  household,  an  earl,  and  a  gentleman  of  the  bedchamber 
to  the  prince,  and  was  then  crushed  by  the  power  of  the  duke  of  Buckingham, 
and  the  prejudice  the  prince  himself  had  contracted  against  him,  during  his 
highness's  being  in  Spain ;  upon  which  he  was  imprisoned  upon  his  return ;  and 
after  the  duke's  death,  the  king  retained  so  strict  a  memory  of  all  his  friend- 
ships and  displeasures,  that  the  earl  of  Bristol  could  never  recover  any 
admission  to  the  court ;  but  lived  in  the  country,  in  ease,  and  plenty  in  his 
fortune,  and  in  great  reputation  with  all  who  had  not  an  implicit  reverence  for 
the  court ;  and  before,  and  in  the  beginning  of  the  parliament,  appeared  in  the 
head  of  all  the  discontented  party ;  but  quickly  left  them,  when  they  entered 
upon  their  unwarrantable  violences,  and  grew  so  much  into  their  disfavour,  that 
after  the  king  was  gone  to  York,  upon  some  expressions  he  used  in  the  house 
of  peers  in  debate,  they  committed  him  to  the  Tower ;  from  whence  being 
released,  in  two  or  three  days,  he  made  haste  to  York  to  the  king ;  who  had 
before  restored  him  to  his  place  in  the  council  and  the  bedchamber.  He  was 
with  him  at  Edge-hill,  and  came  with  him  from  thence  to  Oxford ;  and,  at  the 
end  of  the  war,  went  into  France ;  where  he  died ;  that  party  having  so  great 
an  animosity  against  him,  that  they  would  not  suffer  him  to  live  in  England,  nor 
to  compound  for  his  estate,  as  they  suffered  others  to  do,  who  had  done 
them  more  hurt.  Though  he  was  a  man  of  great  parts,  and  a  wise  man,  yet 
he  had  been  for  the  most  part  single,  and  by  himself,  in  business ;  which  he 
managed  with  good  sufficiency ;  and  had  lived  little  in  consort,  so  that  in 
council  he  was  passionate,  and  supercilious,  and  did  not  bear  contradiction 
without  much  passion,  and  was  too  voluminous  in  discourse;  so  that  he  was 
not  considered  there  with  much  respect;  to  the  lessening  whereof  no  man 
contributed  more  than  his  son,  the  lord  Digby ;  who  shortly  after  came  to 
sit  there  as  secretary  of  state,  and  had  not  that  reverence  for  his  father's 
wisdom,  which  his  great  experience  deserved,  though  he  failed  not  in  his  piety 
towards  him.' 


The  second  anonymous  portrait,  with  which  I  now  propose  to  deal,  was 
bought  about  1896  from  the  late  Martin  Colnaghi  by  Messrs.  Wallis  and  Son 
(the  French  Gallery),  who  have  kindly  supplied  me  with  the  photograph  from 
which  the  accompanying  reproduction  (Plate  v)  has  been  made.  I  have  no 
further  clue  to  its  provenance.  It  was  called  simply  'An  Unknown  Man',  and 
I  am  informed  that  it  has  been  sold  abroad.  So  far  as  I  know  the  picture  is 
not  signed  nor  dated,  but  I  have  no  doubt  that  it  is  by  Cornelius  Johnson,  and 
the  costume  seems  to  suggest  that  it  was  painted  about  1640.  The  picture 
unfortunately  contains  no  definite  clue,  like  that  of  the  seal  ring  in  Lord  Bristol's 
vi.  c 


io  TWO  ANONYMOUS   PORTRAITS 

portrait,  to  the  identity  of  the  sitter.  In  the  absence  of  such  a  clue  one  has 
perforce  to  fall  back  upon  comparisons  with  the  features  of  other  known  por- 
traits, an  expedient  full  of  the  dangers  and  difficulties  to  which  I  have  alluded 
above.  But  the  portrait  is  such  a  fine  one,  and  the  person  represented  so 
obviously  a  man  of  high  rank  and  personal  importance,  that  I  consider  one  is 
justified  in  running  some  risks  in  the  attempt  to  establish  his  identity. 

The  features  in  Simon  de  Passe's  engraving,  here  reproduced  in  reverse 
(Plate  vi)  to  facilitate  comparison,  seem  to  me  so  remarkably  similar  to  those 
of  Johnson's  '  Unknown  Man '  that  I  venture  to  suggest  that  Johnson's  sitter 
may  perhaps  prove  to  be  no  less  exalted  a  person  than  Philip  Herbert,  Earl 
of  Montgomery  and  fourth  Earl  of  Pembroke.  De  Passe's  engraving  shows 
Philip  Herbert  as  a  comparatively  young  man.  It  must  have  been  done  before 
1623,  for  the  engraver  left  England  in  that  year.  As  de  Passe  engraved  a  por- 
trait of  Philip's  elder  brother,  William,  third  Earl  of  Pembroke,  in  1617,  it  is 
possible  that  this  engraving  was  made  about  the  same  time ;  and  as  William's 
portrait  was  engraved  after  a  painting  by  Van  Somer,  perhaps  this  artist  also 
painted  the  original  of  Philip's  engraving.  If  1617  be  the  correct  date  of 
de  Passe's  plate,  Philip  Herbert  was  then  thirty -three  years  of  age.  And  if 
Johnson's  portrait  was  painted  about  1640  (it  may  possibly  have  been  a  year 
or  two  later),  the  sitter,  provided  we  are  correct  in  supposing  that  he  was  Philip 
Herbert,  would  have  been  at  least  fifty-six  years  of  age.  This  calculation  seems 
to  agree  with  the  apparent  age  of  Johnson's  sitter,  and  the  difference  of 
twenty-three  years  is  sufficient  to  account  for  the  slight  differences  in  the  two 
portraits. 

Another  engraving  which  will  be  useful  for  comparison  is  the  portrait  of 
the  fourth  Earl  of  Pembroke,  engraved  by  Wenceslaus  Hollar  in  1642,  from  a 
painting  by  Van  Dyck.  This  is  a  small  head  and  shoulders,  in  an  oval  frame. 
The  original  I  believe  is  at  Tythrop  House.  This  engraving  supports  the 
suggestion  that  Johnson's  portrait  represents  the  same  sitter. 

The  best  known  portrait  of  Philip  Herbert  is  that  in  the  great  '  Herbert 
Family '  piece  by  Van  Dyck  at  Wilton  House.  According  to  Captain  Nevile 
Wilkinson  (Wilton  House  Pictures,  1907)  this  picture  must  have  been  completed 
in  1633,  but  he  thinks  the  Earl's  portrait  may  have  been  painted  a  year  or  two 
earlier.  Allowing  for  the  difference  in  date  between  this  portrait  and  that  of  the 
Johnson  we  are  considering,  and  the  differences  between  Van  Dyck's  and 
Johnson's  ways  of  seeing  and  pictorial  aims,  it  seems  to  me  possible,  though  by 
no  means  certain,  that  the  two  portraits  may  represent  the  same  person. 

There  is  also  at  Wilton  House  a  whole-length  portrait  of  the  Earl,  wearing 
a  dark  cloak  with  the  star  of  the  Garter,  holding  a  stick  in  his  left  hand,  his  right 
foot  on  a  step  (No.  287),  by  Van  Dyck,  and  Captain  Wilkinson  gives  the 
following  list  of  other  portraits  which  may  be  useful  for  purposes  of  comparison: 


PLATE  V 


PORTRAIT    OF    AN    UNKNOWN    MAN- 
PERHAPS    PHILIP    HERBERT,    EARL    OF    MONTGOMERY,    AND    FOURTH    EARL    OF    PEMBROKE) 
BY    CORNELIUS    JOHNSON 

From  a  photograph  kindly  supplied  by  Messrs.  Wallis  and  Son 


PLATE  VI 


PHILIP   HERBERT,    EARL   OF    MONTGOMERY    (AFTERWARDS    EARL   OF    PEMBROKE) 
REVERSED    FROM    THE    ENGRAVING,    MADE    BEFORE    1623,    BY    SIMON    DE    PASSE 
(Print  Room,  British  Museum) 


BY  CORNELIUS  JOHNSON  11 

1.  Whole  length,  about  40  years  of  age,  by  Van  Dyck.     Smith's  Cat.  Rats.,  519.    Engraved 

by  Hollar,  and  in  Lodge's  Memoirs. 

2.  A  three-quarter  length,  by  Van  Dyck.     Exhd.  Brit.  Inst.,  1851,  R.  A.  1881,  and  G.  G. 

1887,  No.  4.     Cust,  149.     Belonging  to  the  Earl  of  Carnarvon. 

3.  A  full  length,  by  Van  Dyck.     Exhd.  Brit.  Inst.  1860.    Cust,  151.     Belonging  to  the 

Earl  of  Clarendon. 

4.  Full-length   miniature,  20  in.  x  15.     Exhd.  N.P.  E.  1866,  No.  589.    (Similar  to  No.  i, 

above.)     Belonging  to  the  Earl  of  Yarborough. 

5.  A  three-quarter  length,  in  buff  coat,  ascribed  to  Van  Dyck.     Belonging  to  the  Marquess 

of  Bath,  Longleat. 

6.  A  three-quarter  length  by  Van  Dyck.     Exhd.  R.  A.  1883.     Belonging  to  O.  J.  Wyke- 

ham,  Esq.    (Said  to  be  the  original  of  Hollar's  engraving,  referred  to  above.) 

7.  A  full  length,  ascribed  to  Van  Dyck.     Repetition  of  the  Wilton  portrait.     Belonging  to 

Lord  Mowbray  and  Stourton,  Allerton  Park. 

8.  A  three-quarter  length,  seated,  ascribed  to  Van  Dyck.     Exhd.  Manchester,  1857,  No.  99. 

Belonging  to  the  Duke  of  Portland.    Welbeck  Abbey  catalogue,  No.  101.    (It  is  now, 
I  believe,  attributed  to  Mytens.) 

9.  Whole  length,  with  rod  of  office  of  Lord  Chamberlain  ;  view  of  Old  Wilton  House  in 

background.     By  Mytens.     Strawberry  Hill  sale,  1842,  Iot88(i7th  day).     Sold  for 

32  guineas. 
10.  A  Portrait  bought  by  the  Rev.  J.  M.  Trehearne  as  a  Van  Dyck,  at  Lord  Northwick's 

sale  in  1859. 
n.  Miniature,  by  S.  Cooper.     Exhd.  S.  K.  1862,  No.  1911,  by  S.  Addington,  Esq. 

Lady  Anne  Clifford,  Countess  of  Dorset,  Pembroke,  and  Montgomery,  has 
given  the  following  account  of  the  life  and  character  of  her  second  husband 
(Harley  MS.  6177) :  'This  second  lord  of  mine  was  born  a  second  son  the  10 
of  October '  (Complete  Peerage  says  October  16)  'in  1584,  in  his  father,  Henry 
Herbert,  Earl  of  Pembroke's  house  at  Wilton  in  Wiltshire,  which  was  once 
a  nunnery.  His  mother  was  Mary  Sidney,  only  daughter  to  Sir  Henry  Sidney 
and  only  sister  to  the  renowned  Sir  Philip  Sidney.  He  was  no  scholar  at  all  to 
speak  of,  for  he  was  not  past  three  or  four  months  at  the  University  of  Oxford, 
being  taken  away  from  thence  by  his  friends  presently  after  his  father's  death  in 
Queen  Elizabeth's  time,  at  the  latter  end  of  her  reign,  to  follow  the  court,  as 
judging  himself  fitt  for  that  kind  of  life,  when  he  was  not  passing  fifteen  or  sixteen 
years  old ;  yet  he  was  of  a  very  quick  apprehension,  a  sharp  understanding, 
very  crafty  withal,  and  of  a  discerning  spirit,  but  extreamly  cholerick  by  nature, 
which  was  increased  the  more  by  the  office  of  Lord  Chamberlain  to  the  King 
which  he  held  many  years.  ...  He  was  one  of  the  greatest  noblemen  of 
his  time  in  England  in  all  respects,  and  was  generally  throughout  the  realm 
very  well  beloved.'  (Quoted  from  the  Roxburghe  Club's  edition  of  Lives  of  Lady 
Anne  Clifford \  &c.,  edited  by  J.  P.  Gilson,  1916,  p.  55.) 

A  lampoon  written  in  connexion  with  his  visit  to  Oxford  in  1648,  quoted  by 
Captain  Wilkinson  from  the  Tanner  MSS.,  gives  an  enemy's  opinion  of  his 
features  : 

c  2 


12  TWO  ANONYMOUS   PORTRAITS 

His  nose  was  notch'd  like  country  garden  pales, 
His  brow  and  chin  more  mountainous  than  Wales. 
And  who  could  better  fill  Apollo's  place, 
Than  he  that  bears  Parnassus  in  his  face  ? 

Clarendon  tells  that  when  James  I  came  to  England  the  Earl  of  Montgomery, 
as  he  then  was,  '  had  the  good  fortune,  by  the  comeliness  of  his  person,  his  skill, 
and  indefatigable  industry  in  hunting,  to  be  the  first  who  drew  the  king's  eyes 
towards  him  with  affection'.  He  bore  the  King's  favour  with  more  moderation 
than  others  who  succeeded,  and  he  was  liberally  supplied  with  funds  by  his 
elder  brother,  the  third  Earl  of  Pembroke.  '  He  pretended  to  no  other  qualifi- 
cations, than  to  understand  horses  and  dogs  very  well,  which  his  master  loved 
him  the  better  for,  (being,  at  his  first  coming  into  England,  very  jealous  of  those 
who  had  the  reputation  of  great  parts,),  and  to  be  believed  honest  and  generous, 
which  made  him  many  friends,  and  left  him  no  enemies.' 

Clarendon's  account  of  him  in  later  life  is,  however,  much  less  favourable  : 
'  Whilst  there  was  tranquillity  in  the  kingdom,  he  enjoyed  his  full  share  in  pomp 
and  greatness ;  the  largeness  and  plentifulness  of  his  fortune  being  attended 
with  reverence  and  dependence  from  the  people  where  his  estate  and  interest 
lay,  and  where  indeed  he  was  a  great  man ;  getting  an  affection  and  esteem 
from  persons  who  had  no  dependence  upon  him,  by  his  magnificent  living,  and 
discoursing  highly  of  justice,  and  of  the  protestant  religion  ;  inveighing  bitterly 
against  popery,  and  telling  what  he  used  to  say  to  the  king;  and  speaking 
frankly  of  the  oversights  of  the  court,  that  he  might  not  be  thought  a  slave  to  it. 
He  had  been  bred  from  his  cradle  in  the  court;  and  had  that  perfection  of 
a  courtier,  that  as  he  was  not  wary  enough  in  offending  men,  so  he  was  forward 
in  acknowledging  it,  even  to  his  inferiors,  and  to  impute  it  to  his  passion,  and 
ask  pardon  for  it ;  which  made  him  be  thought  a  well-natured  man.  .  .  There 
were  very  few  great  persons  in  authority,  who  were  not  frequently  offended  by 
him,  by  sharp  and  scandalous  discourses,  and  invectives  against  them,  behind 
their  backs ;  .  .  and  his  infirmities  were  so  generally  known,  that  men  did  not 
think  they  could  suffer  in  their  reputations  by  any  thing  he  said  ;  whilst  the  king 
retained  only  some  kindness  for  him,  without  any  value  and  esteem  of  him. 
But,  from  the  beginning  of  the  parliament,  when  he  saw  and  heard  a  people 
stout  enough  to  inveigh  against  the  king's  authority,  and,  to  fall  upon  those 
persons  whom  he  had  always  more  feared  than  loved;  and  found  that  there 
were  two  armies  in  the  kingdom,  and  that  the  king  had  not  the  entire  com- 
mand of  either  of  them ;  when  the  decrees  of  the  star-chamber,  and  the  orders 
and  acts  of  the  council,  in  all  which  he  had  concurred,  (as  his  concurrence  was 
all  that  he  had  contributed  towards  any  counsel,)  were  called  in  question,  and 
like  to  be  made  penal  to  those  who  would  not  redeem  their  past  errors  by 
future  service ;  his  fear,  which  was  the  passion  always  predominant  in  him  above 


BY   CORNELIUS  JOHNSON  13 

all  his  choler  and  rage,  prevailed  so  far  over  him,  that  he  gave  himself  into 
the  hands  of  the  lord  Say,  to  dispose  of  him  as  he  thought  fit,  till  the  king  took 
the  white  staff  from  him,  and  gave  it  to  the  earl  of  Essex.  .  .  .  From  this  time, 
he  took  himself  to  be  absolved  from  all  obligations  and  dependence  upon  the 
court.' 

If  Johnson's  portrait  does  indeed  represent  the  fourth  Earl  of  Pembroke, 
as  seems  possible,  the  absence  of  the  white  wand  of  office  from  the  portrait, 
and  the  plainness  of  the  costume,  suggest  that  it  was  perhaps  painted  after 
July,  1641,  when  his  quarrel  with  Lord  Maltravers  had  led  to  his  committal  to 
the  Tower  and  the  loss  of  his  office  as  Lord  Chamberlain.  The  absence  of 
the  Orders  of  the  Bath  and  Garter  may  also  be  taken  as  an  indication  of  Lord 
Pembroke's  break  with  the  Court  and  his  siding  with  the  Puritans.  It  would 
belong  therefore  to  a  different  time  from  those  days  of  tranquillity  in  which 
the  Earl  '  enjoyed  his  full  share  in  pomp  and  greatness ',  so  skilfully  suggested 
in  Van  Dyck's  great  family  group  at  Wilton  House.  In  Johnson's  portrait  we 
seem  to  see  the  ally  and  friend  of  Lord  Say,  the  fisher  in  troubled  waters ;  and 
the  sitter's  gaze  seems  to  reflect  some  anxiety  and  fear  as  to  what  the  immediate 
future  will  bring  forth. 


PLATE  VII 


^l'% 


K 


' 


SCULPTURES    IN    GREAT    HALL,    I.UMLEY    CASTLE 


DRAWING   ^7   THE   LUMLEY   INVENTORY 


THE   LUMLEY   INVENTORIES 
BY  LIONEL  CUST. 

IN  the  second  Annual  of  the  Walpolc  Society  an  account  was  given  of 
a  painter,  Hans  Eworthe,  or  Eeuwouts,  and  it  was  stated  that  the  identification 
of  this  painter  was  due  to  an  entry  in  the  inventory  of  pictures  belonging  to 
John,  Lord  Lumley,  in  1590,  the  manuscript  of  which  is  in  the  possession  of 
the  present  Earl  of  Scarbrough.  This  manuscript  is  of  the  highest  importance 
in  the  history  of  the  Fine  Arts  in  England,  and  was  first  printed  in  the  Appendix 
to  the  Records  of  the  Lumleys  of  Lumley  Castle,  published  in  1904  by  Miss  Edith 
Milner  and  Miss  Edith  Benham.  The  complete  manuscript  contains  matters 
of  genealogical  and  heraldic  interest,  and  was  lent  to  the  recent  Exhibition  of 
Heraldic  Art  at  the  Burlington  Fine  Arts  Club  in  1916,  and  is  described  in 
the  Catalogue  of  that  exhibition.  In  addition  to  these  details  and  to  the 
inventory  of  pictures  the  manuscript  contains  an  account  of  sculptures  at 
Lumley  Castle,  some  of  which  still  remain  in  the  Castle  to  this  day.  After 
describing  the  heraldic  sculptures  on  the  outer  walls,  the  inventory  states : 

In  the  midst  of  the  Court  standeth  a  Condeth  (conduit)  of  17  foote  high  with  two  bolls 
of  whyte  marble,  standing  upon  foure  great  pillers  of  whyte  marble  contayning  my  Lord's 
Armes  and  my  Ladie  Elsabeths,  his  second  wife. 

This  conduit,  which  no  longer  exists,  is   shown  in   a   drawing  (Plate  vin  a). 
Within  the  Castle  the  inventory  states : 

In  the  uppermost  front  of  the  Hall,  there  standeth  a  great  statuarie  on  horseback,  as 
bigg  as  the  life,  w^in  an  arch  of  stone,  in  memorie  of  King  Edward  the  3  in  whose  time 
the  most  of  this  Castle  was  built.  Wtbin  this  arche  also  standeth  sixe  small  pictures,  in  whyte 
marble  in  memorie  of  his  six  sonnes,  viz. :  Edward  Prince  of  Wales,  Willm  of  Hatfield 
who  died  yong,  Lyonell  Duke  of  Clarence,  John  of  Gaunt,  Duke  of  Lancaster,  Edmond  of 
Langley,  Duke  of  Yorke,  Thomas  of  Woodstock,  Duke  of  Glocester. 

Upon  the  same  front  there  are  also  foure  livelie  statues  all  wrought  in  white  marble  in 
memorie  of  K  Henry  the  8,  King  Edward  6,  Quene  Marie  and  Q.  Elizabeth,  in  whose 
raignes  his  Lop  lived. 

These  sculptures  are  shown  in  a  drawing  (Plate  vn).  The  equestrian 
statue  of  King  Edward  III,  carved  in  wood,  still  remains  in  the  Great  Hall  at 
Lumley  Castle,  as  do  also  the  '  foure  livelie  statues ',  being  marble  busts  of  the 
highest  interest,  the  sculptor  of  which  should  rank  with  the  great  artists  of  his 


16  THE  LUMLEY   INVENTORIES 

time.  The  six  small  busts  have  disappeared,  but  the  two  reliefs  of  Plato  and 
Aristotle,  figured  in  the  drawing,  are  let  into  the  wall  of  the  courtyard.  Another 
drawing  (Plate  vin  b)  gives  a  view  of  the  screen  in  the  Great  Hall : 

In  the  nether  end  of  the  hall  against  the  skreene  a  Rich  lavatory  of  touch  and  whyte 
marble  contayning  in  height  20  foote. 

Of  this  lavatory  the  column  and  base  of  touch  have  disappeared,  but  the 
Pelican  in  its  Piety  is  still  preserved  at  Lumley  Castle,  and  fragments  of  the 
basin  have  been  discovered  and  recently  pieced  together.  On  the  screen  were 
some  of  a  series  of  '  Thirtene  Emperors  heades  of  mould  worke  garnishing  the 
hall '  and  '  Sixe  rare  heades  of  beasts ',  being  the  head  of  an  Irish  elk  (Cervus 
megaceros),  '  An  heade  of  an  Eliphant ',  '  The  head  of  a  Strepsiceros '  (antelope}, 
'  A  Staggs  head  carrying  nyne  in  the  topp ',  '  Head  of  a  Bezar '  (Bezoar  goat  or 
gazelle),  'A  Hede  of  a  beast  called  Gems'  (chamois),  and  'The  clawe  of 
a  griphyn,  verie  wonderfull '.  Four  of  these  heads  are  shown  in  the  drawing, 
but  all  with  the  emperors'  heads  have  disappeared.  Then  follows  a  Latin 
poem,  painted  on  panel,  entitled  '  Theatrum  Mundus,  Spectator  Deus ' ;  this 
painted  poem  still  survives,  and  is  worth  transcribing  as  a  piece  of  verbal 
jugglery: 

Mundus  abit,  res  nota  quidem,  res  usque  notanda 

nota  tibi  mundi  sit  nota  mundus  abit 
Mundus  abit,  non  mundus,  id  est,  haec  machina  mudi, 

dico,  sed  mundi  gloria  mudus  abit 
Mundus  abit,  cito  nome  abit,  cum  nomine  mundu 

sed  citius  mundi  nomine,  mudus  abit 
Mundus  abit,  tria  sut,  fuit,  est,  erit,  haec  tria  mudum 

mota  movent,  clamat  haec  tria,  mundus  abit 
Mundus  abit  fugiens  ut  tempus,  ut  amnis  ut  aura, 

ut  mundus,  satis  est  dicere,  mundus  abit 
Mundus  abit,  constans  nihil  est  sed  constat  abire 

in  mundo  constat  nil  nisi  mundus  abit 
Mundus  abit,  nihil  in  nihilo,  sed  tamen  eius  abire 

non  abit :   error  abi,  quo  duce  mudus  abit 
Mundus  abit  nil  quod  quaeras  satis  unde  queraris, 

mundus  abit,  quod  habet  respue,  mundus  abit. 
Mundus  abit,  fortis  su,  non  ero,  sum  spetiosus, 

non  ero,  su  dives,  non  ero,  mudus  abit 
Mundus  abit,  sequitur  mors  vita,  stricta  solutam, 

Longa  brevem  laetum  nubila,  mundus  abit 
Mundus  abit  mundus  qui  verbo  fallit  in  omni, 

nescit  in  hoc  uno  fallere,  mundus  abit. 
Mundus  abit,  non  christus  abit,  cole  non  abeuntem, 

dices,  non  abeo  me  sine  mundus  abit. 
Mundus  abit,  quoties  iterabo,  cesset  abire 

mundus,  cessabo  dicere,  mundus  abit. 


PLATE  VIII 


W 

CONDUIT  IN  COURT,  LUMLEY  CASTLE 


HALL  SCREEN  AND  LAVABO,  LUMLEV  CASTLE 


DRAWINGS  IN  THE   LUMLEY  INVENTORY 


PLATE   IX 


D 

2 


o 

h, 


W 


u 
J 

J 
M 

— 

H 
z 

o 

I 


PLATE  X 


LAVABO  AND  SCREEN,  LUMLEY  CASTLE 


(*) 

MARBLE   SERVING    TABLE,    LUMLEY   CASTLE 


M 
FOUNTAIN 


OBELISK    WITH    ARMS   OF    LORD   LUMLEY 


DRAWINGS  IN  THE   LUMLEY   INVENTORY 


PLATE  XI 


W 

COLUMN    WITH    CREST    OF   LORD    LUMLEY,    AND 
TWO    TABLES 


COLUMN   WITH   CREST   OF   LORD    LUMLEY 


FOUNTAIN    AND   TABLK 


FOUNTAIN 


DRAWINGS   IN   THE   LUMLEY   INVENTORY 


PLATE  XII 


. 


u 

a 


in 
w 


a: 

o 

z 

w 


u 


w 

K 


tn 
O 
2 


ftj 
Q 


PLATE  XIII 


- 


u 

u 


u 

H 


en 

u 


I 


u 
H 


I 
I 

OS 

Q 


PLATE  XIV 


x 
u 

a: 

3 

X 
U 

- 

u 

a 


- 

D 

-1 

Q 
< 

j-T 

< 

< 

N 
H 


U 
Z 


U. 

O 
a 
5 

O 

OS 

£ 


O 

35 

S    Q 


2 
U 


U 

X 

u 


UJ 

- 
- 
s 


O 


U. 

O 


I 


£ 


u 
z 


- 

D 
J 

U 

S 
H 


z 

! 

a 


PLATE  XV 


DESIGN    FOR    TOMB   OF    ELIZABETH    D  ARCY,    I.ADY    LUMLEY,    CHEAM    CHURCH 


DRAWING   IN   THIC    LUMLEY   INVENTORY 


THE   LUMLEY   INVENTORIES  17 

Esse,  Fuisse,  Fore,  Tria  Florida,  sunt  sine  Flore. 

nam  simul  omne  Peril  quod  Fuit  est  »t  erit 
Quod  Fuit,  Est  et  Erit  transit  spatio  brevis  horae 

ergo  parum  prodest,  Esse,  Fuisse,  Fore. 

These  verses  were  continued  on  another  panel,  which  no  longer  exists. 

Munde,  vale,  tibi  ve  fugiens  me,  du  sequerer  te 
tu  sequeris  modo  me,  munde  vale  tibi  ve. 

Pennatis  humeris,  volat  irrevocabile  tempus 
Vincit  ovans  laurus,  falx  peracuta  secat 

Erigam,  an  diripiam,  temporis  statuam  :  tempus  omniu  edax  rerum,  maioru  nomina, 
vitam,  memoriam  exstinxit,  marmorea,  eburnea,  argentea,  aurea  monumenta  devoravit  in 
ipsum  tempus  cu  tempora  sequierint,  et  istam  longa  annorum  serie,  deductam  propaginem 
obumbrare  minitentur :  intemperans  esse  possim  in  temporis  spoliis,  si  triumphalis  statua 
consecretur:  Sed  omnia  tempus  habet,  ut  nee  equu  sit  sua  invidere  tempori  trophea,  et 
gratiae  agendae  sint,  tanquam  comuni  parent!,  veritatis,  virtutis,  vitae,  nobilitatis  nostrae. 
Tempore  nascuntur  caesaru  stemata,  creverunt  imperiorum  sceptra,  honoris  aura  placet, 
captatur,  suspicitur,  concidit. 

Tempora  labuntur  fluimus  ruimusque  gradatus 
Dulcia  virtutis  praemia  sola  manent. 

The  manuscript  then  proceeds  to  the  genealogical  and  heraldic  history  of 
the  Lumley  family,  after  which  comes  the  famous  inventory  taken  by  Mr.  John 
Lampton,  'Stewarde  of  Howseholde  to  John  Lord  Lumley'.  The  inventory 
starts  off  with  nineteen  pages  of  drawings  representing  marble  furniture. 
These  were  probably  Italian  work,  and  at  Nonsuch  Palace,  as  the  series 
contains  drawings  of  the  tombs,  designed  in  1597  by  Lord  Lumley,  to  be 
erected  to  the  memory  of  himself  and  his  two  wives,  Jane  FitzAlan  and 
Elizabeth  D'Arcy,  in  the  church  at  Cheam  in  Surrey  (Plates  xiv  and  xv),  where 
they  were  all  eventually  buried.1  These  drawings  of  fountains,  tables,  and 
screens  (Plates  ix,  x,  xi,  xn,  xm)  are  of  considerable  artistic  interest;  unfor- 
tunately nothing  has  been  preserved.  Possibly  the  fountains  were  destroyed 
when  Nonsuch  Palace  fell  into  the  rapacious  hands  of  Barbara  Villiers,  Duchess 
of  Cleveland,  who  pulled  down  the  palace  and  turned  all  she  could  into  cash. 
After  these  drawings  follows  the  inventory  of  the  pictures,  which  is  of  excep- 
tional interest,  as  revealing  not  only  the  immense  wealth  of  pictures  owned 
by  John,  Lord  Lumley,  in  his  various  residences — at  Lumley  Castle,  his  house 
on  Tower  Hill,  and  possibly  also  at  Nonsuch  Palace — but  also  as  giving  the  clue 
to  certain  painters  of  the  period. 

The  inventory  of  the  Library  has  not  been  preserved,  and  possibly  the 

1  The  tomb  of  John,  Lord  Lumley,  was  engraved  for  Sandford's  Genealogical  History  of  the 
Kings  of  England,  chap.  V. 

VI.  D 


i8  THE   LUMLEY   INVENTORIES 

books  were  disposed   of  by   Lord   Lumley  himself,   as  it   is   stated    in    the 
manuscript : 

The  Library  Registred  in  a  boke  wryten  by  Alcocke,  my  L:  of  Chechester  his  L: 
servant,  A"  1596  with  all  the  rest  of  my  boks  myselfe  have  dysparsed  sundery  ways. 

Some  of  the  books  and  manuscripts  came  into  the  possession  of  Henry, 
Prince  of  Wales,  and  a  few  are  now  in  the  British  Museum.  Lord  Lumley 
had  in  1587  presented  a  number  of  books  to  the  University  of  Cambridge.  In 
1601  Lord  Lumley  surrendered  the  palace  at  Nonsuch  to  Queen  Elizabeth  in 
discharge  of  a  debt  to  Her  Majesty,  though  he  appears  to  have  remained  there 
as  a  tenant,  as  he  died  there  on  April  ir,  1609,  and  was  buried  with  his  first 
wife  and  their  children  at  Cheam.  A  further  inventory  taken  after  his  death 
shows  that  the  greater  part  of  the  artistic  treasures  mentioned  in  the  inventory 
of  1590  was  in  1609  at  Lumley  Castle.  A  summary  of  this  second  inventory 
was  given  in  Surtees's  History  of  Durham,  vol.  ii,  p.  161 ;  but  the  whole 
of  this  inventory  has  been  transcribed  by  Miss  Mary  Hervey,  and  is  appended 
here  with  Miss  Hervey's  own  remarks  on  the  formation  and  dispersal  of  the 
great  Lumley  collection. 

By  his  first  wife,  Jane,  daughter  and  co-heiress,  through  the  death  of  her 
brother,  Lord  Maltravers,  to  Henry  FitzAlan,  last  Earl  of  Arundel  of  that  line, 
Lord  Lumley  inherited  part  of  the  fortune  and  treasures  of  the  great  house  of 
FitzAlan,  the  other  portion  descending  to  Lady  Lumley 's  sister,  Mary,  Duchess 
of  Norfolk,  wife  of  Thomas  Howard,  Duke  of  Norfolk,  who  was  attainted  and 
beheaded  in  1572  for  complicity  with  the  Queen  of  Scots  against  Queen 
Elizabeth.  The  Duchess  of  Norfolk  had  died  in  1557,  leaving  one  son,  Philip, 
Earl  of  Arundel,  who  was  father  of  Thomas  Howard,  Earl  of  Arundel  and 
Surrey,  the  famous  art  collector  and  connoisseur.  At  the  time  of  Lord 
Lumley's  death  in  1609,  with  no  surviving  issue  by  either  of  his  wives,  the 
heir  to  the  possessions  of  the  FitzAlan  family  was  Thomas,  Earl  of  Arundel. 
Certain  family  portraits  and  other  works  of  art  must  have  passed  immediately 
into  the  Earl  of  Arundel's  possession,  such  as  the  portrait  of  Christina,  Duchess 
of  Milan,  by  Holbein,  and  Holbein's  famous  book  of  portrait  drawings.  Some 
portion  was  probably  inherited  by  Elizabeth  D'Arcy,  Lady  Lumley,  with  the 
London  house  on  Tower  Hill.  Nonsuch  Palace  with  its  contents  was  already 
the  property  of  the  Crown.  A  considerable  portion  of  the  collection  of  pictures, 
tapestries,  &c.,  remained  at  Lumley  Castle,  and  passed  with  that  property  to 
the  Earls  of  Scarbrough,  with  whom  they  remained  for  some  generations.  Un- 
fortunately, during  the  eighteenth  century  the  financial  affairs  of  the  Earls  of 
Scarbrough  became  sadly  involved.  After  the  death  of  Richard,  fourth  Earl 
of  Scarbrough,  in  1782,  a  sale  of  household  furniture,  &c.,  was  conducted  by 
Mr.  Christie  at  Lumley  Castle  on  Monday,  August  8,  1785,  and  the  three 


THE   LUMLEY   INVENTORIES  19 

following  days,  when  the  collection  of  works  of  art  was  dispersed,  though  a  certain 
number  appears  to  have  been  bought  in.  A  further  sale  took  place  after  the 
death  of  George  Augusta,  fifth  Earl  of  Scarbrough,  in  1807,  both  at  Sandbeck 
Park  and  at  Lumley  Castle.  A  number  of  family  portraits  and  a  few  sculptures 
were  saved,  and  remain  to  this  day  at  Lumley  Castle ;  but  the  former  richness 
of  the  collection  is  now  only  a  memory  preserved  in  the  inventory  of  1590. 

Apart  from  the  interesting  questions  of  iconography  arising  from  the 
Lumley  inventory,  there  are  entries  of  special  interest  with  reference  to  the 
painters  working  in  England  during  the  sixteenth  century. 

The  pictures  and  drawings  ascribed  to  Hans  Holbein  have  been  noted  and 
described  elsewhere  by  Dr.  Paul  Ganz  and  Mr.  Arthur  Chamberlain.  They 
need  no  further  comment  here,  except  to  note  that  the  portrait  of  Sir  Thomas 
More,  which  had  been  identified  with  that  formerly  belonging  to  Mr.  Huth 
and  now  in  the  collection  of  Mr.  Frick  in  America,  may  perhaps  be  the  fine 
version  of  this  portrait  in  the  collection  of  the  Marquess  of  Lothian  at  New- 
battle  Abbey.  The  ascription  of  certain  paintings  in  the  Lumley  inventory  to 
Haunce  Eworthe  has  led  to  the  identification  of  this  painter,  as  set  forth  in  the 
Second  Annual  of  the  Walpole  Society.  The  paintings  ascribed  to  Garlicke, 
otherwise  Gerlach  Fliccus,  have  been  ably  dealt  with  by  Miss  Mary  Hervey  in 
the  Burlington  Magazine,  vol.  xvii,  pp.  71,  146. 

A  painter  Hnbberi  still  remains  to  be  identified. 

The  famous  paynter  Steven  seems  to  be  identical  with  Richard  Stevens, 
a  Flemish  painter  in  London,  who  was  sta'tuary  and  medallist  as  well  as 
painter.  The  portrait  of  Lord  Lumley  by  this  painter,  which  is  still  preserved 
at  Lumley  Castle,  is  a  good  example  of  Tudor  painting  without  any  special 
mark  of  distinction. 

Seigar,  to  whom  various  portraits  are  attributed,  may  be  identified  safely 
with  either  Sir  William  Segar,  Garter  King-at-arms,  or  his  brother,  Francis 
Segar.  '  William  and  Francis  Segar,  brethren '  are  among  the  painters  noted 
by  Sir  Francis  Meres  in  his  Palladis  Tamia  in  1598.  A  comparison  with  the 
plates  engraved  for  the  numerous  works  of  Sir  William  Segar  makes  it  almost 
certain  that  the  series  of  full-length  portraits  of  John,  Lord  Lumley,  and  his 
ancestors,  which  still  hang  in  the  Great  Hall  at  Lumley  Castle,  was  painted 
by  Sir  William  Segar  or  his  brother. 

Other  painters  are  mentioned  in  the  inventory,  but  not  as  working  in 
England,  such  as  Albrecht  Durer,  Frans  Floris,  Antonio  Moro,  Jan  Schorel  of 
Utrecht.  The  entries  '  Of  Lucretia  drawne  by  Cornelius  Vandeave  of  Anwar pe\ 
and  'A  large  table  of  the  Rape  of  Helena,  drawne  by  Cleave  Haunce  of  Anwar pe ', 
are  valuable  in  the  history  of  the  various  artists  bearing  the  name  Van  Cleef 
in  the  Netherlands.  Jacques  Pindar  is  identical  with  Jacob  De  Poindre, 
a  painter  of  repute  at  Malines;  but  Vincent  of  Macklen  from  the  same  town 

D  2 


20  THE   LUMLEY  INVENTORIES 

remains  to  be  identified.     The  picture  of  Lodovicus  Orioustus  the  Poete  done  by 
Lucios  (or  furio),  the paytf,  also  gives  a  clue  which  has  still  to  be  followed  up. 

Inventories  of  pictures  are  disappointing,  since  the  details  given  are  seldom 
sufficient  to  secure  identification.  The  Lumley  inventory  is  unusually  rich  in 
such  details,  but  yet  the  bulk  of  the  pictures  enumerated,  most  of  which  must 
still  exist  in  modern  collections,  still  remains  a  mine  for  future  discoveries. 
Some  descriptive  notes  in  The  Literary  Cabinet  may  help  to  identify  certain 
portraits,  and  the  descriptions  in  the  sale  catalogues  of  1795  and  1807  also 
throw  a  little  light,  which  may  lead  to  more  of  the  pictures  being  traced. 


APPENDIX 

Additions  by  same  hand  as  MS.  are  printed  within  square  brackets. 
Additions  in  a  later  hand  are  printed  in  italics. 

I 

A  Certyficate  from  Mr.  John  Lampton  Stewarde  of  Howseholde  to  John 
Lord  Lumley,  of  all  his  Lo:  monumentes  of  Marbles,  Pictures  and  tables  in 
Paynture,  with  other  his  Lordshippes  howseholde  Stuffe  and  Regester  of 
Bookes.  Anno  1590. 

A  note  of  Pyctures  caryinge 

the  fowrme  of  the  whole  Statuary. 

These  sorted  together 

for  the  memorye 

of  yr  Lo:  house. 

The  statuary  of  Adam  and  Eve. 

1  The  Statuaryes  of  xvien  Auncestors  of  yor  Lo:  lyneally  descending  from  the  Conquest 
unto  yor  self. 

1  The  Statuary  of  yor  eldest  sonne  Charles. 
1  The  Statuary  of  bothe  yor  Lo:  wives. 
The  Statuary  of  old  tyme. 

'The  Statuary  of  Kinge  Richard  the  seconde,  delyvering  the  wryte  of  Parliament  to 
Ralphe  the  first  Barren  of  Lumley,  called  by  him  the  eight  yeare  of  his  Reigne. 

*  The  Statuary  of  King  Henry  the  eight  and  his  father  Kinge  Henry  the  seaventh  joyned 
together,  doone  in  white  and  blacke  by  Haunce  Holbyn. 

The  Statuary  of  Kinge  Henry  the  eight  alone  doone  in  oyle  coloures. 
The  Statuary  of  his  sonne  King  Edward  the  sixt  drawne  by 
g  The  Statuary  of  the  Lord  Barley,  after  King  of  Scotts. 
The  Statuary  of  Quene  Anne  Bulleyne. 

•  The  Statuary  of  the  Duches  of  Myllayne,  afterwards  Duches  of  Lorreyn  daughter  to 
[Christierne]  king  of  Denmarke  doone  by  Haunce  Holbyn. 

The  Statuary  of  the  Duches  of  Parma,  Regent  in  Flaunders,  Base  doughter  to  the 
Emperor  Charles  the  fiveth. 

The  Statuary  of  King  Phillip  of  Spayne. 

The  Statuary  of  Henry  of  Burbon  King  of  Navarre  and  of  Fraunce. 

The  Statuary  of  Willm  Nassau  Prince  of  Orange,  murthered  by  Balthazar  Geraertez, 
a  Burgunyan  gent. 

The  Statuary  of  the  Princes  his  last  wife,  daughter  to  Colligny  Admyrall  of  Fraunce 
and  widow  of  Telligny. 

1  Now  at  Lumley  Castle.  *  That  of  the  second  wife  is  at  Lumley. 

'  At  Lumley.  *  Now  at  Chatsworth. 

'  Erased  in  original  MS. 

'  Now  in  the  National  Gallery,  formerly  in  the  Duke  of  Norfolk's  collection. 


22  THE  LUMLEY   INVENTORIES 

The  Statuary  of  the  last  old  Earle  of  Arundell  fitzallen,  Lo:  Chamberleyne  to  k:  H:  8. 
and  K:  Edw:  6.  and  Lo:  Steward  to  Quene  Mary  and  Q.  Elizabeth. 

The  Statuary  of  Willm  Harbert  first  Earle  of  Pembroke,  created  by  King  Edward  the 
sixt  Lo:  Steward  to  Quene  Elizabeth. 

1  The  Statuary  of  Thomas  first  Lo:  Darcy  of  Chiche  created  by  King  Edw:  6.  Lo: 
Chamberleyne  to  the  said  K:  Edw:  drawn  by  Garlicke.2 

The  Statuary  of  the  Lo:  Charles  Howard  of  Effingham,  Lord  Admyrall  of  England. 

The  Statuary  of  Sir  Christofer  Hatton  Knight,  as  he  was  being  vice-chambereyne  to 
Q.  Elizabeth,  [who  afterward  was  Lo:  Chancelor  of  Englande.] 

3  The  Statuary  of  the  Lorde  Darneley  [afterwards  K:  of  Scott]  and  his  brother  Charles 
Stewarde  in  one  table. 

[The  Statuary  of  Robert  Dudley  Earle  of  Leicester.] 
[The  Statuary  of  Edwarde  Earle  of  Oxfourde.] 

4  [The  Statuary  of  yor  Lop  selfe  in  yor  Parlyament  Robes.] 

[The  Statuary  of  Monseur  brother  to  Valois  laste  Kinge  of  Fraunce  in  the  robes  of  y* 
order.] 

[The  Statuarie  of  Counte  de  Home        )  .  r  ,    . 

™.     Oi         .      r~  [  in  the  Robes  ot  theire  order. 

[ine  btatuane  ot  Lounte  de  Mounteny  ) 

5  [The  Statuarie  of  Robte  Earle  of  Sussex  Anno  1593.] 

[The  Statuarie  of  Thomas  Lord  Broughe  in  his  Robes  of  the  Garter.] 


PICTURES  OF  A  SMALLER  SCANTLINGE. 

The  Picture  of  King  Richard  the  Second. 

Of  King  Henry  the  fourthe. 

Of  King  Henry  the  fiveth. 

Of  King  Henry  the  sixt. 

Of  King  Edward  the  fourthe. 

Of  King  Richard  the  third. 

Of  King  Henry  the  seaventh. 

Of  Quene  Elizabeth  his  wife. 

Of  Prince  Arthur  their  eldest  sonne. 

Of  King  Henry  the  eight. 
0  Of  King  Edw:  6.  being  Prince. 
7  Of  Quene  Marye,  drawne  by  Garlicke. 
3  Of  Quene  Elizabeth  as  she  was  comyng  first  to  the  Crowne. 

And  agayne,  as  she  was  the  xxxth  yeare  of  her  Reigne. 

[Of  Stephen  Batre  Kinge  of  Powland.] 

[Of  Sigismond  Kinge  of  Poland  sonne  to  John  Kinge  of  Swethland.] 

[Of  Sigismonde  Batre  Prince  of  Transsilvania  a°  1595.] 

[Of  Phillip  sonne  to  the  Kynge  of  Spayne  that  now  is.] 

Of  the  Duke  of  Richemond,  base  sonne  to  K:  H:  8. 

1  This  was  at  Irnham.  *  Gerlach  Fliccus  or  Flick. 

'  Now  at  Windsor  Castle. 

Sold  1785.    John  Boro  de  Lumley  in  robes  of  state,  1591.     Now  at  Lumley  Castle. 
'  Sold  1785.     Whole-length  portrait  of  Radcliffe,  Earl  of  Sussex,  in  armour.    £10  105.     Terry. 
Now  in  the  possession  of  Mr.  Henry  Harris,  reproduced  in  Walpole  Society's  Annual,  iii. 

6  Sold  1785.     £6  i6s.  6d.  7  Sold  1785.     £555.  '  Sold  1785.     £6  6s. 


THE   LUMLEY   INVENTORIES  23 

Of  the  Duke  of  Buckingham. 

Of  the  first  Duke  of  Northefolke  Hawarde. 

Of  the  seconde  Duke  of  Northfolke. 

Of  Thomas  the  third  Duke  of  Northfolke,  doone  by  Garlicke. 
1  Of  Thomas  Earle  of  Surrey. 

Of  Thomas  his  sonne  the  4  Duke  of  Northfolke. 

Of  Phillip  his  sonne  afterwards  Earle  of  Arundell. 

Of  Charles  Brandon  the  first  Duke  of  Suffolke  Lo:  great  Mr. 

Of  the  Duke  of  Somerset  Seymar  Lo  Protector  to  King  Edw:  6. 

Of  his  brother  Lord  Admirall  Seymer. 

Of  the  last  Earle  of  Arundell  Fitzallen,  drawne  twise  by  the  famous  paynter  Steven. 

Of  his  sonne  the  Lord  Mautrevers. 

Of  the  first  Marques  of  Winchester  Pawlet,  Lo:  Treasorer. 

Of  the  Lo:  Marques  of  Northampton  Parre,  Lo:  great  Chaberleyne. 

Of  Thomas  Earle  of  Northumberland,  executed  at  Yorke. 

Of  the  first  Earle  of  Southampton  Writhesley,  Lo:  Chauncellor. 
*  Of  the  Lo:  Robert  Dudley,  Mr  of  the  horse  to  Quene  Elizabeth. 

Of  him  after  he  was  Earle  of  Leicester  Lo:  Steward,  twise  drawne  bye  Seigar. 

Of  the  Earle  of  Southampton  Fitzwillms  Lo:  Pryvie  Scale. 

3  Of  the  first  Earle  of  Bedfourd  Russell  Lo:  Pryvie  Scale. 

4  Of  the  second  Earle  of  Essex  [Robert]  Devereux,  Mr  of  the  horse,  doone  by  Seigar. 
Of  the  Lo:  Clinton,  afterwards  created  Earle  of  Lincolne,  Lo:  Admirall. 

Of  Ambrose  Earle  of  Warwicke,  generall  at  Newhaven. 

[Of  the  firste  Earle  of  Shroesburie.] 

Of  the  Olde  Earle  of  Lyneux. 

[Of  Gilbert  Earle  of  Shrewesburye  that  now  is.] 

Of  the  Pope  Julius  secundus. 

Of  Cardynall  Woolsey  Lo:  Chauncello' 

[Of  Anthony  Grandville  Cardinall  and  Bishopp  of  Arras.] 

Of  the  Cardynall  Poole. 

Of  the  B.  of  Winchester,  Steven  Gardyn  Lo:  Chauncello' 

Of  the  B.  of  Rochester  Fissher. 
6  Of  the  old  Lo:  Henry  Morley,  A°  1523  done  in  water  color  by  Albert  Duer. 

Of  the  Vycount  Mountague  Browne. 
c  Of  yor  Lo:  doone  by  Steven. 

Of  the  first  Lorde  Sheiffeild,  slayne  at  Norwiche. 

Of  Arthure  Lo:  Gray  of  Wilton,  Lo:  deputie  of  Ireland,  doone  by  Seigar. 

Of  the  first  Lo:  Willoughbye  [Perigrine]  Bartue. 

Of  Thomas  the  first  Lo:  Crumwell,  Lo:  pryvie  scale,  and  vice-regent  to  K:  H:  8. 

Of  the  first  Lo:  Wentworth,  Lo:  Chamberleyne  to  K:  Edw:  6. 

Of  the  first  Lo:  Riche,  Lo:  Chauncello'  of  England. 

Of  Thomas  the  third  Lo:  Darcy  of  Chiche,  doone  by  Hubbert 

• 

1  Sold  1785.     Portrait  of  Howard,  Earl  of  Surrey,  1545.     £7  175.  6d.   ?  at  Greystoke.    Given 
to  Mr.  Howard  by  the  Earl  of  Scarbrough. 

1  1587.     Sold  1785.     £335.     Robert  Dudley,  Earl  of  Leicester. 

3  Sale  1785.     Less  half  length.    John  Lord  Russell,  Earl  of  Bedford,  1555.     £2  55.     Perhaps 
now  at  Woburn  Abbey. 

4  Sale  1785.     Devereux,  Earl  of  Essex,  1590.     £445. 

6  Now  in  the  British  Museum.  '  Now  at  Lumley  Castle. 


24  THE  LUMLEY  INVENTORIES 

Of  the  last  Lord  Braye. 

1  Of  the  first  Lo:  Burghley  Cicill,  Lo:  Threasorer. 

2  [Of  Sr  Anthony  Browne  Mr  of  the  horse  to  K:  H:  8.  and  K:  Edward  y9  6.] 

3  Of  Sr  Nichls  Carewe  Mr  of  the  horse  to  K:  H:  8. 

Of  old  Sir  Thomas  Lovell  Threasorer  of  howseholde  to  K:  H:  7. 

4  Of  Sir  Henry  Guilfourd  Coumptroller  to  K:  H:  8.  [drawne  by  Haunce  Holbyn.] 

5  Of  Sir  Thomas  Moore,  Lo:  Chauncellor,  [drawne  by  Haunce  Holbyn.] 
Of  old  sir  Thomas  Wyatt. 

Of  the  yonger  sir  Thomas  Wiat  executed. 

Of  Sr  Thomas  Hennege,  Vice  chaberleyne. 

Of  Erasmus  of  Roterdame,  "all  this  eight  drawne  by  Haunce  Holbyn. 

Of  Sir  Willm  Winter,  doone  by  Seigar. 

Of  sir  Frauncis  Walsingham  Secretary. 
7  Of  sir  Willm  Peter  Secretarye. 
s  Of  his  sonne  sir  John  Peter. 

Of  sir  Willm  Drury  slaine  in  fraunce  drawne  by  Seigar. 

Of  sir  Nichls  Bacon  Knight  Lo:  Keper  of  the  great  Scale  to  Q:  Elizabeth. 

9  Of  Sir  James  Wilfourd  Capten  of  Haddington. 
Of  sir  Phillip  Sidney,  Lo:  governor  in  Zealand. 

Of  sir  Frauncis  Drake  the  Great  Navigator  (doone  by  Seigar)  [who  sayled  round  about 
the  worlde.] 

10  Of  Sir  John  Lutterel,  who  died  of  the  sweat  in  K.  Edw:  6:  tyme. 

[Of  Sir  John  Haukins  Treasurer  of  the  Admiraltie  drawne  by  Hubbert.] 

[Of  Mr  Thomas  Candishe  who  sayled  round  about  the  worlde.] 

M' '  Churchyards  picture. 

An  old  man  fancying  a  yong  woman. 

Of  Mr  Edward  Dyer  of  the  Corte,  drawne  by  Hubbert. 

Of  Mr  Edw:  Shelley  slayne  at  Mustleborough  feilde,  drawen  by  Haunce  Eworthe. 

11  Of  Mr  Thomas  Wyndeham  drowned  in  [the  Sea  returneinge  from  Ginney.] 
[Of  Sir  Edward  Kelley  rare  for  his  knowledge  in  Alcumistrye.] 

Of  the  Earle  of  Salisburie,  Cecill. 

Of  Julius  Caesar. 

Of  Henry  the  third  Empor  husbande  to  Mawd  the  Empresse. 

Of  Maximilian  the  Empor  grandfather  to  Charles  the  Vth. 

Of  Charles  the  Vth  Empour. 


1  Sold  1785.     Cecil  Lord  Burleigh,  Lord  High  Treasurer.     £3  135.  6d. 

2  Sold  1785.     Portrait  of  Sir  Anthony  Browne,  Viscount  Montague.    £3185.     Ditto  £i  us.  6d. 

3  Now  in  the  collection  of  the  Duke  of  Buccleuch,  at  Dalkeith.     Sold  1785.     £10  IDS. 

4  Now  at  Windsor  Castle. 

6  Sold  1785.     Portrait  of  Sir  Thomas  Moore,  Lord  Chancellor.     £5  155.  6d.     Said  to  be  by 
Holbein  ;  probably  the  picture  in  the  collection  of  the  Marquess  of  Lothian  at  Newbattle  Abbey. 

6  These  three  words  erased  in  original  MS. 

7  Sold  1785.     Sir  William  Peter  (or  Petre),  Secretary  to  Henry  8th,  Edward  6th,  Queen  Mary, 
and  Queen  Elizabeth.     £5  55.     Now  perhaps  at  Thorndon. 

8  Sold  1785.     Sir  John  Peter.     £3  35. 

9  Either  the  picture  now  belonging  to  Mr.  A.  W.  Hall  or  that  at  St.  George's  Hospital. 

10  Either  the   portrait   by   Hans   Eworth  at   Dunster  Castle,  or  that  at   Badmondsfield.     See 
Annual,  Walpole  Society,  vol.  ii. 

11  By  Hans  Eworth,  now  at  Longford  Castle.     Sold  1785.     Mr.  Wyndham,  1550.     £5  55.     See 
Annual,  Walpole  Society,  vol.  ii. 


THE  LUMLEY   INVENTORIES  25 

Of  Steven  [Batere]  King  of  Poland  1583. 

Of  the  Duke  of  Savoy  Regent  in  Flaunders  doone  by  Jaques  Pindar.1 
Of  the  Duke  of  Parma,  Regent  in  Flaunders. 

8  Of  the  Duke  of  Alva,  governo'  in  Flaunders,  doone  by  Anthony  Moorey. 
Of  the  Duke  of  Askott  1583. 
[Of  the  Duke  of  Sert] 

Of  the  County  Egmond  executed  at  Bruxels,  drawne  by  Steven. 
Of  the  Duke  of  Burbon,  slayne  at  the  sackinge  of  Rome. 
Of  Henry  Valoys  last  of  that  name,  king  of  Fraunce,  murthered. 
Of  Henrye  Duke  of  Guyse  murthered  by  the  said  kinge. 
Of  Albertus  Cardinall  of  Austria  now  governor  of  the  Lowe  Countryes. 

3  Of  Andrew  Dore  Prince  of  Melph. 

[Of  Phillip  de  Roye  a  councelor  to  the  K.  of  Spayne.] 

Of  Balthazar  Geraertez  gent,  a  Burgunyan,  who  murthered  the  Prince  of  Orange. 

4  Of  President  Viglius,  a  Great  Councello'  to  Charles  the  Vth,  drawne  by  Jaques 
Pindar. 

Of  Haward  a  Dutch  Juellor,  drawne  for  a  Maisters  prize  by  his  brother  Haunce 
Eworth. 

Of  Sebastian  Gabote  the  great  Navigator. 

[Of  Ignatius  de  Loyola  first  founder  of  the  societie  of  Jesus.] 

[Of  Franciscus  Xaverius  firste  of  the  Jesuites  whiche  brought  the  Christian  faythe  unto 
y"  Indians.] 

Sir  Thomas  Stukeley  slayne  wth  the  thre  Christians  kings. 

Of  Bocchas. 

Of  Petrarke. 

Of  Dante. 

Of  Oriosfo. 

Of  sir  Gefferey  Chawcer  knight. 

Of  Buckenel  the  Scott. 

Of  Raphael  de  Urbino,  the  great  paynter. 

Of  Willm  Somer,  K:  H:  8:  notable  foole. 

Of  Theophrastus  Paracelsus. 

[Margaret  daughter  to  Duke  of  Anjoy  and  wife  to  K.  Henry  6th.] 

Of  Elizabeth  wife  to  King  Edw:  4. 

Of  Margaret6  Countesse  of  Richemonde  and  Darby  and  mother  to  K:  H:  7. 

Of  Quene  Katheryn,  mother  to  Quene  Marye. 

Of  Quene  Jane  mother  to  K:  Edw:  6: 

Of  Quene  Katherin  Parre,  last  wife  to  K:  H:  8. 

Of  [Isabel]  wife  to  Charles  the  Vth  Empor,  mother  to  K:  Phillip. 

Of  Mary  Quene  of  Scottes,  executed  in  Englande. 

Of  [Elizabeth]  Q:  wife  to  the  Frenche  Kinge,  Charles  the  9: 

[Of  Isabel  daughter  to  Phillip  the  second  K:  of  Spayne.] 

Of  the  Duchesse  of  Savoye. 

Of  a  Frenche  Duchesse. 

1  Jacques  de  Poindre. 

'80^1785.     The  Duke  of  Alva,  1557.    Terry,  London.     £15155.     By  Antonio  Moro. 

8  Sold  1785.     Pater  Patriae  Andreas  Auria.     £3  135.  6d. 

4  Sold  1785.     Viglius,  President  of  the  Council  in  the  Low  Countries,  1560.     £2  75. 

5  Elizabeth  erased. 

VI.  E 


26  THE  LUMLEY  INVENTORIES 

1  [Of  the  olde  Countes  of  Salisburie  behedded.] 

2  [Of  the  olde  Marquesse  of  Dorcett  syster  to  Sir  Edw:  Wootton.] 

[Of  the  Counties  of  Shroesburie  2  wyffe  to  the  first  Earle  of  Shroesburie,  eldest 
daughter  to  Richard  Earle  of  Warwicke,  Beachampe.] 

[Of  the  Ladie  Margaret  Lenox.] 

Of  the  Duchesse  of  Somersett,  Stanhop. 

Of  Mary  Duches  of  Northfolke,  daughter  to  the  last  Earl  of  Arundell  [Fitzallen]  doone 
by  Haunce  Eworth. 

Of  the  Lady  Marques  of  Northampton  3  borne  in  Swedelande. 

Of  the  Countes  of  Huntington,  daughter  to  the  Duke  of  Northumbrelande. 

4  Of  the  Countesse  of  Lincolne,  daughter  to  the  Earle  of  Kildare. 
Of  the  Countesse  of  Warwicke,  daughter  to  the  Earle  of  Bedfourd. 

Of  the  Countesse  of  Essex  wife  to  the  2  Earle  of  Essex  and  widow  to  sir  Phillip 
Sidney. 

[Of  Marye  daughter  to  Sr  William  Candishe  wyfe  to  Gilbert  earle  of  Shrewsburye  yl 
now  is.] 

Of  the  Lady  Jane  Graye,  executed. 

Of  the  Lady  Katheryn  Graye,  married  to  the  Earle  of  Hertfourd. 

Of  the  Countesse  of  Arundell  second  wife  to  the  late  old  Earle  of  Arundell  [Fitzallen, j 
daughter  to  Sir  John  Arundell  of  Lanherne  in  Cornewall. 

Of  the  Countesse  of  Arundell,  wife  to  Phillip  Earle  of  Arundell,  daughter  to  the 
Lo:  Dacres  of  the  northe. 

5  Of  yor  Lo:  first  wife  daughter  to  the  old  Earle  of  Arundell  [Fitzallen]  drawne  by 
Steven. 

Of  my  La:  yor  second  wife  daughter  to  the  Lo:  [John]  Darcy  of  Chiche,  drawne  by 
Hubbart. 

Of  the  La:  Darcy  of  Chiche  wife  to  Thomas  the  third  Lo:  Darcy. 

6  Of  the  La:  Guilfourd  wife  to  Sir  Henry  Guilfourd  Coumptroller,  drawne  by  Haunce 
Holbyn. 

Of  an  Italian  gentlewoman  drawen  by  her  selfe  and  presented  to  the  olde  Earle  of 
Arundell  in  Italy. 

Of  a  Dutche  Ladye. 

Of  an  Italian  Gentlewoman  in  great  reputacon  wth  her  husband  for  her  beawty. 

Of  Shores  wyfe  concubyne  to  K:  Edw:  4. 

Of  a  bride  of  Constantinople. 

Of  Mary  Magdalen,  drawen  by  Frauncs  Flores. 

Of  Lucretia  drawne  by  Cornelius  Vancleave  of  Anwarpe. 

Of  Pompeia. 

Of  Cleopatra  in  water  colours. 

Of  thre  Italian  Ladyes. 

Off  Mary  Medices  daughter  to  Francise  Duke  of  Thoscane  and  to  Joan  of  Austria,  and 
wife  to  Henrie  of  Borbon  Kinge  of  France. 

1  Perhaps  the  picture  in  the  collection  of  the  Earl  of  Loudoun. 

2  Perhaps  the  picture  now  at  Welbeck  Abbey. 
s  Dorset  erased. 

4  Pennant  in  his  Tour  in  Scotland  mentions  tin's  picture  as  dated  1569,  and  in  a  singular  dress 
of  black  and  gold  with  a  red  and  gold  petticoat. 

5  Now  at  Lumley  Castle. 

6  Formerly  in  the  collection  of  Mr.  Frewen,  now  in  collection  of  Mr.  W.  C.  Vanderbilt,  USA. 


THE  LUMLEY   INVENTORIES  27 


OTHER  PICTURES  AND  TABLES. 

A  Speciall  picture  of  Christ  cast  in  mould  by  Raphael  de  Urbino,  brought  into  England 
from  Rome  by  Cardynall  Poole. 

Thre  notable  peics  of  hangings,  One  of  Christ  his  passage  with  his  Crosse  to  his 
Passion,  The  other  of  his  passion,  And  the  third  of  his  Judgement  doone  by  Henry  Houm- 
frey,  Thes  were  thos  especiall  peices,  y*  honge  in  Set  Magnus  churche  at  the  bridge  foote 
in  London,  geve  away. 

A  large  picture  of  or  blessed  Lady  with  Christ  her  sonne  in  her  Armes. 

A  large  table  of  the  Passion  of  Christ  crucified,  doone  by  Mr  Schore  of  Utright. 

A  table  of  the  fower  Evangelists,  supporting  Christ. 

A  picture  of  Sot  Hierome. 

The  picture  of  our  Ladie  a/*  Christ  in  her  armes  togltlf  ivith  S'  Catherine  and  S'  Jhon 
Baptist  on  Canvasse. 

The  Passion  of  Christ  cutt  in  black  stone. 

A  great  large  table  infolds  of  the  Passion,  very  anncient  and  notable. 

A  table  of  Sainct  Pawle  preachinge. 

A  large  table  of  Charite  doone  by  Vincent  of  Macklen. 

A  large  table  of  Noe,  doone  by  Fraunce  Flores  of  Anwarpe. 

A  large  table  of  the  Rape  of  Helena,  drawne  by  Cleave  Haunce  of  Anwarpe. 

A  table  of  a  j'oung  man  fancying  the  riche  old  woman. 

A  large  table  of  the  maner  of  banquetting  in  Flaunders. 

A  table  of  Anchises  and  Aeneas. 

A  table  of  Juno  and  Jupiter. 

A  table  of  Venus  and  Adonis. 

A  table  of  Dives  and  Lazarus. 

A  table  of  the  building  of  Babell. 

A  table  of  Judith  and  Holofernes. 

A  table  of  the  sale  of  Joseph  by  his  brethren. 

A  table  on  the  conyng  pspective  of  death  and  a  woman,  doone  by  Hilliarde. 

A  table  of  the  Ficlenes  of  Fortune. 

A  counterfeyt  of  an  old  booke. 

A  table  of  Cookerye. 

Two  large  tables  of  China  woork. 

A  table  of  Hercules. 

The  9:  worthies  in  roundels  enealed. 

A  great  table  of  the  birthe  of  Christ. 

A  great  table  of  the  fower  Evangelistes. 

A  great  table  of  the  conversion  of  Sct  Pawle. 

1 A  great  booke  of  Pictures  doone  by  Haunce  Holbyn  of  certyne  Lordes,  Ladyes, 
gentlemen  and  gentlewomen  in  King  Henry  the  8:  his  tyme,  their  names  subscribed  by 
Sr  John  Cheke  Secretary  to  King  Edward  the  6  wch  booke  was  King  Edward  the  6. 
2  The  picture  of  ST  Edward  Kolloy,  who  was  the of  golde  in  before. 

A  great  table  of  the  temptacions  of  Sct  Antony.3 

A  great  table  of  a  Dutche  woman  selling  of  fruyte. 

1  The  famous  series  of  drawings  now  at  Windsor  Castle. 
1  Erased  in  original  MS.  3  Frauncis  erased. 

E  2 


28 


THE  LUMLEY   INVENTORIES 


A  pycter  of  S*  Francis. 
1  The  old  Morley  Henry,  doone  by  Albert  Duro. 

The  Picture  of  Lodovicus  Orioustus  the  Poete  [done  by  L.UCWS  2  the  payter.] 

The  picture  of  Count  de  la  Marche  who  wan  Bryll  in  Holland  for  the  Prynce  of 
Orange. 

Other  Pictures  in  small  of  Christ,  our  Ladie  and  his  Saints,  wrought  upon  brass,  and 
adorned  zi*'h  marbles  and  marble  Pillars. 


Imago  Christi 
Christus  crucifixus 
Christus  spinis  coronatus 
Salvator  12  annor. 
Salvator    portans    crucem 

humeris 

Salvator  portans  mundum 
Imago  beatae  virginis  por- 

tantes  Jesum 
Beata  virgo   Maria  Mater 

dei 

Sta  Maria  Magdalena 
S**  Maria  Magdalena  Ti- 

tiana 

Sta  Caecilia 
Sto  Catherina 
Sta  Catherina  Senensis 
Sta  Martha 
Sta  Barbara 
Sta  Lucia 
Sta  Apollonia 
S'  Agatha 
S4  Helena 
Sta  Ursula 


Sum  of  the  valew  of  the  picture  62}£. 

S*a  Dorothea 

Sta  Agnes 

Sta  Clara 

Sta  Margarita 

Sta  Justina 

Sts  Joseph  cum  puero  Jesu 

Sts  Petrus  Apostolus 

Sts  Paulus  ApTus 

S"  Philippus 

S*8  Jacopus  aptus 

S*8  Symon  aptus 

S*  Jhon  Aptus 

S*  Thomas  aptus 

St8  Matheus 

S'  Lucas 

StB  Marcus 

St8  Jhon  Baptist 

Sts  Bartholomeus 

St!  Mathias 

St8  Andreas 

S*8  Stephanus 

S'9  Jacobus 

Sts  Augustinus 


S'9  Gregorius  doctor 

S"  Bernardus 

Sts  Ambrosius 

S"  Hieronimus 

St8  Anselmus 

S*8  Tho:  Aquinas 

Venerab.  Beda 

S'8  Sebastianus 

St8  Hiacinthus 

S*8  Thadeus 

S'8  Franciscus 

S*8  Rocchus 

Sts  Anthonius  abbas 

S'8  Laurentius 

S'8  Anthonius  de  Padua 

St8  Didacus 

Sta  Thomas  Cantuariensis 

S'8  Nicholaus 

Sts  Dominicus 

S48  Franciscus  de  Paula 

Sts  Benedictus 

S*8  Ludovicus  rex  Galliae 

Su  Peter  Martyr 

67. 


A  SUMARYE  of  certayne  stuffe  within  your  Lo:  houses  the  xxiith  of  May  Anno  1590 
the  Inventoryes  of  the  partyculers  remaynyng  in  bookes  subscribed  by  John 
Lambton,  gentleman,  steward  of  household  to  yor  Lo:  and  under  the  handes  of  the 
severall  wardropers  there. 

Sutes  of  hanginges  of  arras,  sylke  and  tapistre  Ivii 

Turkye  carpettes  of  sylke  xi 

Carpettes  of  velvet  for  tables  and  wyndowes  xv 

Other  Turky  Carpettes  iiiix*xv  (95) 
Testers  12,  Sparvers  3,  Pavylions  3,  Canapies  6,  &  Feild  beddes  4,  wrought 

with  gold,  sylver  and  sylke  xl 

Coveringes  and  Quyltes  of  sylke  xl 

Chares  of  clothe  of  gold,  velvet  and  sylke  Ixxvi 

Quisshins  of  clothe  of  gold,  velvet,  and  sylke  cix 


Erased  in  original  MS. 


?  furio. 


THE   LUMLEY  INVENTORIES 


29 


Stooles  of  clothe  of  gold,  velvet  and  sylke 

Pallet  beddes  with  their  bolsters 

Py  Howes 

Lyvereye  beddes 

Woolbeddes 

Counter  poyntes  and  Coverlettes 

Fustyans 

Rugges 

Woollen  Coverlettes  and  blankettes 

Travyses  of  sylke  for  wyndowes 

Bedsteades  gylt 

Bed  steades  of  walnuttre  and  markatre 

Bedsteades  of  weynskot 

Chares  of  walnuttre  and  Markatre 

Stooles  of  walnuttre  and  Markatre 

Fourmes  of  walnuttre 

Tables  of  walnuttre  and  Markatre 

Tables  of  marble 

Cubboordes  of  walnuttre  and  Markatre 

Chares  of  read  Spanish  lether 

Stooles  of  nedlewoorke  cruell 

Stooles  of  read  Spanishe  lether 

Stooles  of  waynskot 

Cubboordes  of  Waynskot 

Tables  of  waynscot 

Andirons  of  Brasse  and  parcell  Copper,  paires 

Great  standing  wynd  Instruments  with  stoppes 

Vyrgynalles  paires 

Rygalles  paires 

Jryshe  harpes 

Lutes 

Howboyes 

Bumbardes 

Crumpe  homes 

Recorders 

Vyolens 

Vyoles 

Sagbuttes 

Cornettes 


iiii"  (80) 
Ixxv 


(95) 


c 


" 

iiii"x 
xxxii 
Ixix 
Iiii 
ciii 
Iv 
xxi 
iiii 
xxiii 
xl 
xvii 
Ivii 

XX 
XXV 

xiiii 

viii 

ii 

x 

vii 

cxviii 

xliii 

i 

zlii 

viii 

v 

•ii 

ii 

viii 

x 

iii 

iiii 

XV 

xiii 

xli 

iiii 

xii 

The  Stuffe  eslemd   fj8o. 
"  xvii  viiid  (£480.  17.  8.) 


The  Armor  valewed 

The  Plate  &  sylver  vessell 

The  Library  Registred  in  a  boke  wryten  by  Alcocke,  my  L:  of  Chechester  his  L: 
servant,  A°-  1596  with  all  the  rest  of  my  bokes  myselfe  have  dyspersed  sundery  ways. 


3o  THE  LUMLEY   INVENTORIES 

II 
LUMLEY  CASTLE 

In  the  Literary   Cabinet  there  is  an   account  of  Lumley   Castle  which 
mentions  : — 

HALL  :   Full  length  portraits  of  Lumley  family. 
LITTLE  DINING  ROOM  : 

John  Lord  Lumley,  1563. 
ditto  1588. 

ditto  1591. 

Garcia  Sarmienta  Cuna.     Full  length  in  armour,  a  ruff,  red  stockings,  white  shoes, 
a  white  cross  on  his  breast,  a  spear  in  his  hand.     Out  of  a  window  a  view  of  the 
sea.    Captain  of  the  Guard  to  Philip  II. 
Ferdinand,  Duke  of  Mar  (sic),  1557.     In  rich  armour. 
Duke  of  Monmouth.     Full  length. 
Jane  Fitzalan,  Lady  Lumley.     In  black  robes,  a  small  ruff  with  gloves  in  her  hand 

dress  gracefully  ornamented  with  strings  of  jewels. 

Thomas  Ratcliff,  Earl  of  Sussex.     Full  length  in  white  armour  and  gold  breeches, 
a  staff  in  his  right  hand,  his  left  resting  on  a  sword.     Helmet  with  an  enormous 
plume  on  a  table,  crested,  amando  efidando  troppo  son  ruinato. 
Duke  of  Suffolk,  1593.     In  a  purple  robe. 

Viglius.    |,  in  black  gown  furred  in  front,  a  black  cap,  sitting  in  a  chair. 
One  of  the  Lumleys. 

A  Man  in  Scarlet  Robe.    f ,  white  mantle  over  shoulder,  scarlet  cap  tied  in  the  middle, 
collar  of  the  fleece,  scarlet  robe  furred  with  white,  on  which  are  several  times 
repeated  the  words  Ah  !  amprins  au  rajay.     Perhaps  a  misreading  of  the  motto  of 
Charles  the  Bold,  Duke  of  Burgundy,  Je  I'ay  empris. 
Duke  of  Buckingham.    Over  chimney. 
Robert  Earl  of  Salisbury.     Half  length .     Sero  sed  serio. 
Sir  William  Peter. 

Queen  Mary  and  Queen  Elizabeth.    Of  a  severe  countenance. 
Dudley,  Earl  of  Leicester,  1587.     |,  with  collar  of  garter,  a  staff  in  right  hand. 
Andrea  Doria,  Genoese  Admiral,  dressed  in  black,  |,  cap,  long  beard,  collar  with  fleece, 

pendant,  truncheon,  a  dagger  in  girdle,  view  of  ships  through  a  window. 
John,  Lord  Lumley,  1588.     Full  length  in  rich  armour. 

ditto  1591-     Black  skull  cap,  a  white  beard,  in  his  robes.     By  Richard 

Stevens. 

DRAWING  ROOM  : 

King  Charles  II  on  horseback. 
DRESSING  ROOM,  OVER  FIREPLACE  : 

Zebedeus,  Jacobus  Major,   Salome,    Christo  coevus,   a  group    of  four,  a   fine   picture 

supposed  by  Holbein. 
In  the  LODGING  ROOMS,  &c. 

John,  Lord  Russell. 


THE  LUMLEY   INVENTORIES  31 

Elizabeth,  Countess  of  Surrey.    Singular  dress  of  black  and  gold  with  a  red  and  gold 

petticoat.     Dated  1560. 
Sir  John  Petre. 

Ambrose,  Earl  of  Warwick.    A  bonnet,  furred  cloak,  small  ruff,  and  pendant  George. 
Earl  of  Surrey.     In  black  with  a  sword  and  dagger,  1545. 
King  Edward  VI.     Full  length. 
Ralph  Lumley,  1567.     Small  full  length. 
Sir  Thomas  More.    Half  length,  dressed  in  that  plainness  of  apparel  which  he  used 

when  the  dignity  of  office  was    laid  aside ;    in  a  furred  robe  with  a  coarse 

capucin  cap. 

William  Cecil,  lord  high  treasurer  of  England.     Half  length,  in  black  with  garter. 
Mr.  Thomas  Wyndham.    Good  half  length,  a  robust  figure  in  green,  with  a  red  sash 

and  a  gun  in  his  hand.    Aged  42  MDL. 

Earl  of  Essex.     Full  length,  in  black  covered  with  white  embroidery. 
Sir  Nicholas  Carew.    Awhile  feather  in  his  hat,  his  head  bound  round  with  a  gold  stuff 

handkerchief. 
Last  Earl  of  Arundel.    |. 

5/A  Earl  of  Bedford.     Engraved  among  the  illustrious  heads. 
Killigrew.    In  a  red  sash,  with  his  dog. 

|  unknown.     1596,  aet.  43.     Striped  jacket,  blue  and  white,  garter. 
Paracelsus.     Philip  Theophrastes  Paracelsus  Bombast  de  Hohenheim  Aureolus.    Very 

handsome,  bald,  close  black  gown,  with  both  hands  on  a  great  sword  on  whose 

hilt  is  the  word  Azot. 

Sir  Anthony  Browne.    Head,  bushy  beard,  bonnet,  and  Garter,  high  crowned  hat. 
Fernandes  de  Toledo,  duke  of  Alva.     In  rich  armour  with  rather  short  black  hair  and 

beard. 
(Chaucer  mentioned  by  Dr.  Stukeley  not  found.) 

(See  Hutchinson's  History  of  Durham!) 

Ill 
LUMLEY  CASTLE 

Sale  of  Household  Furniture,  etc.,  the  property  of  the  late  Earl  of  Scarborough,  dec.,1 

at  Lumley  Castle. 

By  Mr.  Christie  on  the  Premises. 

Monday,  August  8,  1785  and  3  following  days. 

FOURTH  DAY'S  SALE,  AUGUST  n,  1785. 

No.    5.  Portrait  of  a  Lady.    Sir  P.  Lely.  £3  13    6 

6.  ditto                                 ditto.  £4  14    6 

7.  ditto    of  Sir  Thomas  Killigrew.  ,£990 
10.  ditto    less  half  length,  John,  Lord  Russell,  Earl  of  Bedford,  1555.  £2    5    o 

1  At  these  sales  certain  pictures  were  bought  in  for  the  family,  some  of  which  remain  in  the 
possession  of  the  present  Earl  of  Scarbrough. 


32  THE  LUMLEY  INVENTORIES 

11.  ditto  less  half  length,  Sir  Anthony  Browne,  Viscount  Montague.  £3  18    o 

12.  ditto  £i  ii     6 

13.  ditto  half  length  of  the  Countess  of  Lincoln,  1560. 


13.  ditto  a  gentleman  in  armour.     Mr.  Cole.  £220 

14.  ditto  of  Devereux,  Earl  of  Essex,  1590.  £440 

15.  ditto  of  Sir  Thomas  Moore,  Lord   Chancellor.     Mr.  Hay,  Saville 

Row.     Stated  to  be  by  Holbein.  £5  15    6 

16.  ditto  Cecil,  Lord  Burleigh,  Lord  High  Treasurer.  £3  13    6 

17.  ditto  of  Sir  John  Peter.  ^3    3    ° 

19.  ditto  less  Howard,  Earl  of  Surrey,  1545.  £j  17    6 

20.  ditto  of  Ambrose,  Earl  of  Warwicke.  £§  15    6 

21.  ditto  of  Mr.  Wyndham,  1550.  ^55° 

22.  ditto  Queen  Mary.  ^55° 

23.  ditto  Queen  Elizabeth.  £660 

24.  ditto  small  life  |  of  Mr.  Lumley  slain  in  the  battle  of  Floddenfield.  £220 

25.  ditto  whole  length,  of  Ralph  Lumley,  1567.  £2  12    6 

26.  ditto  of  Edward  the  Sixth.  £6  16    6 


28.  ditto    whole  length  of  a  gentleman  in  armour  (Philip  of  Spain).  £5  15    6 

29.  ditto    of  the  Duke  of  Monmouth.  £16    5    6 

30.  ditto    a  pair  ditto  half  lengths  of  John,  Lord  Lumley  and  Jane  his 

first  wife,  1563.  ^5    5    o 

31.  ditto    the  Duke  of  Alva,  1557.    Terry,  London.  £15  15    o 

Music  ROOM  : 

32.  whole  length  portrait  of  Radcliff,  Earl  of  Sussex,  in  armour.    Terry.       £10  10    o 

33.  ditto    the  Duke  of  Suffolk.    Terry.  £770 

34.  ditto    John  Baron  de  Lumley  in  armour  1588.    )  .. 

35.  ditto    in  his  robes  of  State,  1591.  ) 

36.  half  length  of  Robert,  Earl  of  Salisbury.  £3  13    6 

37.  Sir  William   Peter,  Secretary  to    Henry  8th.,  Edward  6th.,   Queen 

Mary  and  Queen  Elizabeth.  £5    5    o 

38.  Pater  Patriae  Andreas  Auria.  .£3  13    6 

39.  ditto    Dudley,  Earl  of  Leicester,  1587.  ^33° 

40.  ditto    Viglius,  president  of  the  council,  in  the  low  countries,  1560.  £270 

41.  ditto     of  the  Lumley  family.  £i     i     o 

42.  ditto    of  Henry  Fitzalan,  Earl  of  Arundell,  the  last  of  that  name.  £4  14    6 

45.  John  Lasle,  Lord  Preceptor.     Lord  Grey.  ^33° 

46.  Duke  of  Buckingham.     Lady  Williamson.  £440 

47.  King  Charles  the  ist.  on  horse  back.    Van  Dyck.  £42    o    o 

48.  A  curious  old  picture  of  Zebedee,  his  wife  and  children.  £16  16    o 

49.  The  first  Earl  of  Scarborough,  half  length.      1 

50.  General  Lumley.  £7    7    o 

51.  Lady  Hallifax. 

52.  Lady  Blacket. 

53.  Richard  Lumley,  Earl  of  Scarborough. 


THE   LUMLEY   INVENTORIES  33 

54.  Two  children,  The  Hon.  Richard  and  Thomas  Lumley. 

55.  Four  oval  portraits,  the  Hon.  James,  Charles,  John,  and  Lady  Harriet 

Lumley. 

BLUE  PARLOR  : 

56.  The  adoration  of  the  Shepherds  large  and  capital.  ^55° 

DRESSING  ROOM  BELOW  STAIRS  : 

57.  Portrait  of  Sir  Nicholas  Carew,  Master  of  the  Horse  to  Henry  the  8th    £10  10    o 

GREAT  HALL: 

59.  Four  ancient  marble  busts  and  a  ditto  group  of  a  pelican. 

60.  Seventeen  whole  length  family  portraits  with  the  pedigree  and  arms 

of  Lumley  from  Liulphus,  Minister  to  William  the  Conqueror, 
down  to  Elizabeth  Darcey  de  Chiche. 


IV 
SANDBECK  PARK,  YORKSHIRE 

Catalogue  of  Pictures,  Furniture,  etc.,  property  of  the  Rt.  Hon.  the  Earl  of 

Scarborough,  deceased. 

To  be  sold  by  auction  by  Mr.  Dawson  on  the  premises  on  Monday,  Nm1.  2.,  1807 

and  5  following  days. 

FOURTH  DAY'S  SALE,  Nov.  5,  1807. 
No.  46.  Pictures.     Basement. 

No.    i.  An  animated  portrait,  Vandyke. 

2.  Henry  VIII  in  splendid  regal  costume,  in  high  preservation,  Holbein. 

10.  Henry  VIII  in  winter  costume,  a  fine  ancient  portrait  on  pannel. 

11.  Philip  II,  full  length,  in  rich  armour. 

12.  Frederick  Prince  of  Wales  in  his  robes,  a  noble  full  length  portrait. 

17.  The  Circumcision,  a  panel ;  school  of  Rembrandt. 

18.  The  Turk  ;  a  fine  spirited  head  ;  Rembrandt. 

19.  The  Head  of  an  old  man,  a  capital  picture,  Rembrandt. 

20.  The  portrait  of  a  nun  in  a  spandel  frame. 
24.  A  Musician  ;  spirited  portrait. 

21.  Charles  II  in  armour;  a  masterly  finished  portrait ;  Lely. 

30.  M™  Ogle  Howard  ;  three-quarter  portrait ;  Lely. 

31.  The  Countess  of  Berkeley  ditto. 

33.  Lord  Treasurer  Burleigh,  ancient,  on  pannel. 

36.  A  nobleman  in  rich  costume,  in  a  French  frame ;  Vandyke. 

37.  A  lady,  the  companion  ditto ;  Vandyke. 

40.  A  lady  in  rich  drapery,  |  length ;  Lely. 

41.  The  companion,  a  lady  playing  on  the  lute. 

42.  The  King  proceeding  in  State  to  the  House  of  Lords  with  architecture  ;  Marlow. 

VI.  F 


34  THE   LUMLEY  INVENTORIES 

51.  Sir  George  Saville,  full  length. 

52.  The  Countess  of  Scarborough,  £  length  ;  Lely. 

58.  Joseph  and  his  brethren,  a  great  masterly  composition  ;  Velasquez. 
72.  Charles  I,  in  plain  attire,  leaning  at  a  window ;  Vandyke. 
74.  The  Marquis  of  Rockingham— a  basso-relievo  on  frame. 


V 
LUMLEY   CASTLE 

Catalogue  of  excellent  Household  Furniture,  etc.  of  the  Earl  of  Scarborough, 

Deceased,  at  Lumley  Castle. 

To  be  sold  by  auction  by  Mr.  Dawson  (by  order  of  the  Executors)  on  the  Premises 
on  Wednesday  the  i6//i.  of  December  1807,  and  three  following  days. 

THIRD  DAY'S  SALE. 

Pictures  etc.     No.  26.     Great  Hall. 

The  tablets  with  the  arms  and  pedigrees  of  the  Lumleys  and  17 

whole  length  portraits.  £16  16    o 
Equestrian  Statue  of  Liulphus,  as  large  as  life. 

SMALL  DINING  ROOM  : 

No.    3.  Garcia  Sarmienta  Cuna.     Full  length  in  armour.  £300 

4.  Duke  of  Monmouth.     Full  length.  ^33° 

5.  Jane  Fitzallen,  ist  wife  of  John  Lord  Lumley.  £i  14    o 

6.  John  Baron  Lumley  1503.  .£240 

7.  Duke  of  Alva  1557.  £10  10    o 

8.  Mr.  Lumley,  slain  the  Battle  of  Floddenfield.  £212    o 

9.  Edward  the  6th.  a  full  length.  £3  15    o 

PASSAGE  BETWEEN  DINING  ROOM  : 

10.  View  of  Roch  Abbey.  .£5  10    o 

DRAWING  ROOM  : 

14.  John  Baro  de  Lumley,  in  armour,  1588,  whole  length.  £5  10    o 

15.  Thomas  Ratcliffe,  Earl  of  Sussex,  in  armour.  £600 

16.  Duke  of  Buckingham.  £7  10    o 

17.  Duke  of  Suffolk,  in  purple  robes,  1593.  £3    °    ° 

18.  John  Baro  de  Lumley,  in  his  robes.  £2  15    o 

20.  Sir  Thomas  Moore,  Lord  Chancellor.  £5    5    ° 

21.  Sir  Thomas  Killigrew.  £770 

22.  Ambrose  Earl  of  Warwick.  £55° 

LARGE  DRAWING  ROOM: 

23.  His  Majesty  the  Prince  of  Wales.  .£8    o    o 

25.  Small  painting  of  the  Temptation  of  St.  Antony.  £200 

26.  The  Queen.  £3  15    o 


THE   LUMLEY   INVENTORIES 

27.  Lady  Sydney,  daughter  of  Secretary  Walsingham  and  wife  of 

Robert  Earl  of  Essex. 

28.  Sir  Thomas  Saunderson,  brother  to  the  2nd.  Earl  of  Scarborough. 

29.  Mr.  Wyndham,  who  was  drowned  on  the  coast  of  Guinea. 

32.  The  Duke  of  Argyle. 

33.  Sir  Anthony  Brown,  Knight  of  the  Garter. 

33.  Zebedee  and  family. 

34.  Lord  Townsend,  whole  length. 

DRESSING  ROOM  : 

35.  Half  length  of  Sir  Anthony  Brown  Montague. 

SIR  G.  SAVILE  ROOM  : 

40.  Half  length  of  Peter  Patrice  (sic). 


41. 
42. 

43- 
44- 


Sir  John  Peter. 
Henry  Fitzallen  Earl  of  Arundel. 
Robert  Dudley  Earl  of  Leicester,  1587. 
Sir  William  Peter. 


46.  Henry  Howard,  Earl  of  Surrey,  1545. 

TAPESTRY  ROOM  : 

58.  Earl  of  Essex. 

STEWARD'S  ROOM  : 

63.  Viglius,  1560. 

64.  Countess  of  Lincoln,  1560. 

65.  John  Lord  Russell,  ist.  Earl  of  Bedford. 
67.  Paracelsus. 


35 

£5  5  o 
£500 

/2    II      6 

£220 
£4  10  o 
£220 

£33° 
£170 


£l    12      O 

10  6 
£i  10  o 
£260 
£2  13  o 
•£55° 


x>4    o    o 

£3  16  o 
£i  5  o 
£300 
£•*  10  o 


F  2 


A  LUMLEY   INVENTORY  OF  1609 
BY  MARY  F.  S.  HERVEY. 

THE  inventory  of  1590,  preserved  at  Lumley  Castle,  has  long  been  known 
as  a  mine  of  valuable  information  respecting  early  historical  portraits  in 
England. 

A  second  inventory  was  drawn  up  for  purposes  of  probate  on  the  death 
of  John,  Lord  Lumley,  in  April  1609,  and  is  filed  at  the  present  day,  together 
with  his  original  will,  at  the  Probate  Registry  of  Durham.  This  inventory,  with 
the  Earl  of  Scarbrough's  kind  approval,  is  printed  in  full  below.  Although  the 
information  it  affords  in  regard  to  paintings  is  meagre  when  compared  with 
that  of  the  inventory  of  1590,  it  offers  many  interesting  points  for  considera- 
tion, and  gives,  in  addition,  details  of  tapestry  and  other  appurtenances  which 
are  lacking  in  the  earlier  document.1 

The  headings  of  the  inventory  of  1590  make  it  clear  that  it  covered  Lord 
Lumley's  moveable  possessions  in  all  his  houses,  which,  in  addition  to  Lumley 
Castle,  included  Nonsuch  Palace,  near  Cheam,  in  Surrey,  and  his  London 
residence  at  Tower  Hill. 

A  certyficate  of  ....  all  his  Lo:  monumentes  of  Marbles,  Pictures  and  tables  in  Payn- 
ture  with  other  his  Lordshippes  Howseholde  stuffe,  and  Regester  of  Bookes.  Anno  1590, 
and 

A  sumarye  of  certayne  stuffe  within  your  Lo:  houses,  etc.2 

The  inventory  of  1609,  on  the  contrary,  applies  to  Lumley  Castle  only. 
Notwithstanding  the  probability  that,  on  giving  up  Nonsuch,  Lord  Lumley 
transferred  a  large  portion  of  its  contents  to  Lumley  Castle,  the  disparity  in  the 
number  of  entries  contained  respectively  in  the  two  inventories  is  so  considerable 
as  to  point  to  one  of  two  conclusions.  Either  a  number  of  objects  were  with- 
drawn from  Lumley  in  the  course  of  the  nineteen  years  which  intervened 

'  The  inventory  of  1590  was  printed  in  Miss  Milner's  Records  of  the  Lumleys  (George  Bell  &  Sons, 
J9°4\  from  which  all  the  quotations  in  this  article,  relating  to  that  inventory,  are  taken.  An  abbre- 
viated version  of  the  inventory  of  1609  was  published  (as  Mr.  Cust  kindly  informs  me)  in  Surtees, 
History  of  Durham,  vol.  z  (London,  1820). 

*  The  italics  are  the  present  writer's. 


A   LUMLEY   INVENTORY   OF   1609  37 

between  the  drafting  of  the  two  inventories,  an  hypothesis  which  appears  in 
the  highest  degree  improbable ;  or  a  portion  of  the  items  enumerated  in  the 
earlier  inventory  never  went  to  Lumley  at  all.  This  seems  to  be  the  true 
solution. 

A  glance  at  Lord  Lumley's  circumstances  at  the  time  will  help  to  make 
the  matter  clear.  His  father-in-law,  Henry  FitzAlan,  last  Earl  of  Arundel  of 
that  name,  had  acquired  Nonsuch  from  Queen  Mary  at  a  time  when  it  seemed 
in  imminent  danger  of  being  pulled  down.  Lord  Arundel  was  a  man  of  large 
ideas  and  fine  taste.  He  completed  and  beautified  the  place,  furnished  it  with 
a  splendid  library — his  librarian,  Humphrey  Llwyd,  married  Lord  Lumley's 
sister — and  probably  collected  here  a  large  part  of  the  portraits  which  figure 
in  the  first  Lumley  inventory.  Lord  Arundel  had  had  a  long  and  varied 
public  and  diplomatic  career,  and  most  of  the  English  and  foreign  notabilities 
with  whom  he  came  in  contact  can  be  traced  amongst  the  portraits  enumerated 
in  the  inventory  of  1590. 

Lord  Arundel's  only  son  died  in  early  manhood,  while  on  a  diplomatic 
mission  to  Brussels.  His  two  daughters  then  became  co-heiresses  of  their 
father.  Both  predeceased  him.  One  was  Mary,  Duchess  of  Norfolk ;  the  other 
Jane,  Lady  Lumley.  Mary,  Duchess  of  Norfolk,  left  an  only  child,  who 
became  Philip,  Earl  of  Arundel.  But  his  youthful  extravagance  and  excesses 
so  alienated  his  grandfather,  that  the  latter,  who  died  in  1580,  left  Nonsuch, 
with  all  its  priceless  treasures,  to  his  widowed  and  childless  son-in-law,  Lord 
Lumley.  The  two  men  must  have  been  congenial  companions.  Lord  Lumley 
had  the  reputation  of  considerable  learning,  and  himself  collected  both  books 
and  pictures,  though  he  never  can  have  had  the  means  to  do  so  to  the  extent 
practised  by  Lord  Arundel ;  especially  as  large  sums  must  have  been  devoted 
to  the  restoration  of  Lumley  Castle,  part  of  which  was  completed  in  1570. 
The  portraits  added  to  the  Lumley  inventory  of  1590  at  dates  subsequent  to 
the  death  of  Lord  Arundel  show,  however,  the  warm  interest  taken  by  Lumley 
in  the  collection  of  works  of  art.  He  made  munificent  gifts  of  books  to  the 
University  Library  at  Cambridge,  and  to  the  Bodleian  at  Oxford.  At  his  death 
the  bulk  of  his  books  were  bought  for  Henry,  Prince  of  Wales,  and  passed  into 
the  Royal  collection.  They  now  form  a  valuable  portion  of  the  King's  Library 
in  the  British  Museum.  It  seems  likely  that  the  majority  of  these  volumes 
originally  proceeded  from  the  fine  library  established  by  Lord  Arundel  at 
Nonsuch. 

After  the  death  of  his  father-in-law,  Lord  Lumley  became  more  and  more 
involved  in  financial  difficulties.  In  1590  he  resolved  to  make  over  Nonsuch 
to  the  Queen,  in  order  to  avoid  the  expense  of  keeping  it  up.  The  cession  of 
Nonsuch  to  Queen  Elizabeth  no  doubt  was  the  occasion  which  gave  birth  to 
the  first  inventory.  At  about  this  time  he  probably  removed  to  Lumley  Castle 


A  LUMLEY   INVENTORY  OF   1609 


the  greater  part  of  the  pictures,  and  some  of  the  furniture,  left  him  by  Lord 
Arundel.  Some  may,  however,  have  found  their  way  to  his  house  at  Tower 
Hill,  or  even  have  remained  at  Nonsuch,  where,  nominally  as  keeper,  he 
continued  to  reside  till  his  death  in  1609.  Obviously  he  could  not  dismantle 
a  house  he  still  continued  to  occupy;  and  this  appears  to  account  for  the 
disparity  between  the  two  inventories.  An  analysis  of  a  few  categories  selected 
for  example  brings  this  out  very  clearly.  Incidentally  it  will  show  that  the 
discrepancy  is  much  less  with  regard  to  pictures  than  in  other  directions; 
revealing  Lord  Lumley's  intention  to  make  Lumley  Castle — with  some  notable 
exceptions — the  chief  home  of  his  art  collections. 


Inventory  0/7/90  (General). 
Sutes  of  hanginges  of  arras,  sylke  and 
tapistre  57 

Turkye  carpettes  of  sylke  n 

Other  Turky  Carpettes  95 

Chares  of  clothe  of  gold,  velvet,  and 
sylke  76 

Quisshins  of  clothe  of  gold,  velvet,  and 
silke  109 

Pictures 

'  Whole  Statuary '  (full  lengths)  46] 

'  Of  Smaller  Scantling  '  167  j-  255 

'  Other  Pictures  and  Tables  '        42) 


Inventory  of  1609  (Lumley  only). 
Suites  of  hangings  of  arras,  silk  and 
tapistry 

Turkey  carpets  of  silk 
Other  Turkey  carpets 
Chairs  of  cloth  of  gold,  velvet  &  silk 

Cushions  of  cloth  of  gold,  etc. 

Pictures 

Described  by  name  28 

'  Little  pictures '  76 

'Create  pictures'  15 

'  Pictures '  19 

'  Pictures  in  the  Gallery '  91 

'In  the  Wardropp  '  4' 


12 

5 
20 

25 
38 


r  233 


The  death  of  Lord  Lumley  brought  the  occupation  of  Nonsuch  to  an  end, 
and  whatever  property  of  his  remained  there  must  now  have  been  either  sold 
or  removed  to  the  house  at  Tower  Hill.  There  is  no  evidence  to  show  that 
anything  except  the  books  were  sold;  as  far  as  pictures  are  concerned,  the 
presumption,  as  will  be  seen,  is  rather  the  other  way. 

The  house  at  Tower  Hill  now  became  the  property  of  the  widow,  Lord 
Lumley's  second  wife,  Elizabeth,  daughter  of  John,  Lord  Darcy  of  Chiche. 
This  lady,  whom  he  had  married  in  1582,  appears  to  have  gained  a  considerable 
ascendancy  over  him  in  his  declining  years.  The  Lumley  estates  he  entailed 
on  his  cousins  of  that  name;  the  Surrey  property,  including  his  house  at 
Cheam,  passed  to  his  sister  and  her  husband,  Humphrey  Llwyd,  and  their 
descendants.  But  the  art  collections,  both  at  Lumley  and  in  London,  appear 
to  have  remained  at  the  sole  disposition  of  his  wife.  There  is  no  allusion  to 
them  whatever  in  Lord  Lumley's  will.  Lady  Lumley,  on  the  contrary,  has 
much  to  say  about  them.  In  her  will,  dated  November  6,  1616— she  died  early 


A  LUMLEY   INVENTORY  OF   1609  39 

in  1617— she  leaves  to  Sir  Richard  Lumley  and  his  heirs  (subject  to  certain 
conditions  which  were  doubtless  fulfilled), '  all  my  household  stuffe  with  marbles 
and  pictures  as  shall  be  in  the  Castle  of  Lumley  at  the  tyme  of  my  death,  there 
to  remaine  as  Airelomes  to  that  house  so  long  as  they  will  endure '.  She  had 
already  at  this  time  made  over  to  her  brother,  Thomas,  Lord  Darcy  of  Chiche, 
the  house  at  Tower  Hill.  This  gift  she  confirms  by  her  will,  entailing  it  after 
his  decease  on  his  daughter,  Elizabeth,  Lady  Savage,  and  adding  a  clause 
similar  to  that  concerning  Lumley :  '  And  for  such  marbles  and  pictures  as 
shalbe  in  my  house  at  Towerhill  at  the  tyme  of  my  death  ...  my  wyll  is  that 
the  same  shall  remaine  as  Aireloomes  to  that  house  unto  the  heires  thereof 
as  long  as  they  will  endure.'1  In  this  house  there  seems  to  have  been  also 
a  collection  of  armour  which  she  bequeathed  to  her  nephew,  Sir  Thomas 
Savage. 

It  would  be  interesting  to  know  what  these  '  marbles  and  pictures '  were, 
at  Tower  Hill;  and  the  inference  is  almost  irresistible  that,  as  regards  paintings, 
those  omitted  from  the  second  Lumley  inventory  furnish  the  clue.  Evidently, 
when  the  main  part  of  the  collections  was  sent  to  Lumley,  a  few  works  were 
held  back  to  adorn  Nonsuch  and  Tower  Hill.  Amongst  these  were  some  of 
the  gems.  They  can  be  identified  in  part  by  their  rapid  re-appearance  after  the 
demise  of  Elizabeth,  Lady  Lumley  (the  terms  of  her  will  notwithstanding),  in 
the  collections  of  Charles  I,  Thomas  Howard,  Earl  of  Arundel,  and  elsewhere. 
When  items  from  the  inventory  of  1590  are  early  found  in  the  possession  of 
new  owners,  especially  in  or  near  London,  the  presumption  is  strong  that  they 
never  made  the  journey  to  the  north.  Those  that  were  sent  to  Lumley  appear 
to  have  remained  undisturbed  for  a  prolonged  period.  Some  of  them  can  be 
traced  in  the  catalogue  of  the  sale  which  took  place  at  Lumley  Castle  in  1785, 
proving  that,  up  to  that  date,  they  had  not  changed  their  domicile,  though 
in  some  cases  there  was  probably  leakage  before  that  time.  Those,  on  the 
other  hand,  which  in  all  likelihood  never  left  the  south,  quickly  pass  into  other 
homes.  Of  the  eleven  works  directly  attributed  to  '  Haunce  Holbyn'  in  the  in- 
ventory of  1590,  five  re-appear  in  the  Arundel  inventory  of  i654.2  These  include 
the  famous  portrait  of  the  Duchess  of  Milan,  now  in  the  National  Gallery,  Sir 
Thomas  (?Sir  Henry)  Wyatt,  Sir  Henry  Guildford,  Lady  Guildford,  and  Erasmus; 
to  say  nothing  of  the  'greate  booke'  of  Holbein  drawings  which,  although  not 
included  in  the  inventory  of  1654,  is  known  to  have  belonged  to  Lord  Arundel, 
after  probably  passing  through  the  hands  of  Charles  I  and  Lord  Pembroke.3 
The  list  might  be  extended  much  further  were  well-known  sitters  to  Holbein  . 

1  Records  of  the  Lumleys,  pp.  94-100. 

*  Burlington  Magazine,  vol.  xix,  August  and  September,  1911. 

'  In   1629  Lord  Arundel  was  apparently  treating  for  a  book  of  Holbein   drawings  through 
Sir  Henry  Vane,  then  in  Holland.     See  Sainsbury,  Original  Papers  relating  to  Rubens,  p.  293. 


40  A   LUMLEY  INVENTORY   OF   1609 

to  be  included  whose  portraits  figure  in  the  first  Lumley  inventory  without 
the  name  of  the  painter,  and  which,  in  some  cases,  may  therefore  have  been 
copies.  It  is,  however,  probable  that  where  portraits  of  the  same  individuals 
appear  in  both  the  Lumley  and  Arundel  inventories,  the  versions  are,  for  the 
most  part,  identical.  Another  interesting  work  which  both  inventories  have 
in  common  is  the  water-colour  portrait  of  Henry,  Lord  Morley,  by  Albert 
DUrer. 

Amongst  the  Holbein  portraits  offered  for  sale  at  Lumley  Castle  in  1785  or 
1807  were  those  of  Sir  Anthony  Browne,  Sir  Nicholas  Carew,  and  Sir  Thomas 
More.  These  therefore  formed  part  of  the  collection  which  travelled  to  the 
north,  and  for  nearly  two  hundred  years  had  their  dwelling  there. 

How  long  after  the  death  of  Elizabeth,  Lady  Lumley,  the  'marbles  and 
pictures'  at  Tower  Hill  remained  intact  is  unknown.  But  that  portions  of  them, 
at  least,  must  have  been  dispersed  before  the  outbreak  of  the  Civil  War  is 
evident  from  what  has  been  said  above. 


A  trew  Inventarie  of  all  such  moveables  as  were  found  in  Lumley  Castle  after  the 
decease  of  the  Lord  John  Lumley  late  Husband  to  the  Ladie  Elizabeth  Lumley  now  living 

whom  he  left  sole  Executrix  by  his  last  Will  and  Testament  priced  and  valued  the  xxiiii  daie 
of  Aprill  Anno  Dni  1609  by  us  the  praysers  hereof  whose  names  are  underwritten  viz. 

Imprimis  vii  peeces  of  hangines  of  Arras  wth  gold  of  the  storie  of  Troy  p°e  Ixxx1' 

Item  vii  peeces  of  hangines  of  Quene  Hester  like  the  other  price  Ixxx11 

Itm  fyve  deep  peeces  of  fine  hangines  of  Cipio  &  Haniball  price  lxxxli 

Itm  vi  peeces  of  hangins  of  Jason  &  Medea  of  a  lardge  ancient  making  Ixxx11 

Itm  vi  peeces  of  hangins  of  the  storie  of  King  Pluto  price  Ixxx1' 

Itm  fower  peeces  of  hangins  of  the  storie  of  the  Amazons  price  lxn 

Itm  3  peeces  of  hangins  of  the  storie  of  Paris  price  xl11 

Itm  xii  peeces  of  buskie  hangins  price  c" 

Itm  xxi  peeces  of  hangins  of  the  storie  of  King  Saul  and  David  price  cxx" 

Itm  iiii  peeces  of  hangins  of  the  storie  of  St  George  price  xl11 

Itm  vii  peeces  of  hangins  of  the  storie  of  Amadis  price  Ixx" 

Itm  iiii  peeces  of  hangins  of  gilte  leather  price  iiiu 

Itm  viii  peeces  of  beddes  of  gold  silver  &  silk  with  their  furnitures  price  cc11  xiii"  iiiid 

Itm  3  bedds  of  broad  cloth  vidz*  one  purple  one  carnation  and  one  greene  xxu  xiii*  iiii'1 

Itm  two  standing  bedsteads  of  wainscott  wth  there  furnitures  price  Hi" 

Itm  one  lardge  travers  of  purple  taffatie  vi1' 

Itm  3  chaires  of  cloth  of  gold  and  silver  wth  a  long  quishion  of  the  same  xvu 

Itm  one  purple  cloth  of  gold  chayre  w*h  a  long  quishion  price  Hi1' 

Itm  two  needle  work  chaires  wth  two  long  quishions  of  the  same  price  iiiu 

Itm  two  chaires  one  of  crimson  silk  &  gold  the  other  of  crimson  silk  &  silver 

wth  two  little  stooles  price  Hi1' 
Itm  two  greene  velvett  chaires  &  two  long  quishions  of  the  same  &  two  little 

stooles  price  Hi" 


A  LUMLEY  INVENTORY  OF  1609  41 

Itm  two  purple  velvett  chaires  &  iii  purple  velvett  quishions  &  a  little  stoole 

price  v" 
Itm  one  chaire  of  tissue  of  silver  &  gold  one  long  quishion  and  a  little  stoole 

price  iii11  xiii'  iiiid 

Itm  two  crimson  velvett  chaires  price  xl* 
Itm  two  chaires  one  of  purple  cloth  of  gold  the  other  of  crimson  cloth  of  gold 

of  Bodkin  w"1  two  long  quishions  &  little  stoole  of  purple  velvett  price  iii11 
Itm  one  chaire  inlaid  wth  boane  of  crimson  velvett  &  cloth  of  Bodkin  wth  two 

long  quishions  &  one  little  stoole  of  purple  velvett  price  xl1 

Itm  one  chaire  &  two  low  stooles  of  Ash  coloure  cloath  of  gold  price  xl* 
Itm  two  damask  chaires  iii  low  stooles  of  damask  &  two  long  quishions  of 

damask  price  1* 
Itm  5  black  velvett  chaires  two  lowe  stooles  of  black  velvett  &  one  little 

square  quishion  price  xl' 
Itm  one  crimson  velvett  printed  chaire  w*  two  lowe  stooles  &  one  long 

quishion  price  xl* 
Itm  one  olde  black  velvett  chaire  embrodered  w"1  gold  of  silver  wth  a  long 

quishion  suitable  to  it  x* 

Itm  one  yallow  velvett  chaire  wih  a  long  quishion  price  xx* 
Itm  one  purple  cloth  chaire  wtb  a  long  Cushion  &  two  lowe  stooles  of  the 

same  price  xx' 
Itm  one  long  needlework  quishion  wth  a  little  cushion  sutable  to  it  one  long 

arras  cushion  wth  my  ladie  Arrundell's  armes  one  long  crimson  velvett 

quishion  embrodered  wth  cloth  of  tissue  &  one  long  turkie  cushion  of 

Crowle  price  iii" 
Itm  xii  little  crimson  velvett  quishions  wrought  &  stryped  &  viii  square 

quishions  of  crimson  velvett  plaine  price  is  viiiu 

Itm  one  carpett  of  crimson  damask  fringed  w'h  gold  price  xl* 

Itm  fyve  square  velvett  carpetts  iii  purple  &  two  greene  price  xu 

Itm  one  Turkey  Carpett  of  silk  &  gold  vi11 

Itm  one  Carpett  of  purple  cloth  fringed  wth  purple  silk  price  x* 

Itm  fower  square  turkey  Carpetts  of  silk  viiu 

Itm  xv  Turkey  Carpetts  of  Crowles  of  divers  sorts  price  xi" 

Itm  5  long  Turkey  Carpetts  of  Crowles  xxv" 

Itm  3  long  Carpetts  of  greencloth  xl* 

Itm  xi  cases  of  quishions  of  gilt  leather  price  x* 

Itm  xix  pallut  bedds  &  xviii  bolsters  &  20  pillowes  price  xxu 

Itm  9  paire  of  lardge  fustians  price  iii" 

Itm  vi  Pollonia  Ruggs  vidz'  3  greene  one  white  one  oringe  &  one  red  xl* 

Itm  x  Spanish  rugg  blankets  xx* 

Itm  xiii  Coverletts  for  pallats  price  xl* 

Itm  fyve  liverey  bedds  price  xl* 

Itm  4  woolle  bedds  price  xx' 

Itm  8  mattress's  price  x* 

Itm  6  pewter  basons  price  vi*  viiid 
Itm  two  paire  of  Racks  one  brandreth  6  brotches  one  boyling  iron  3  brasse 

kettles  &  iiii  brasse  potts  price  xx* 


VI. 


42  A   LUMLEY   INVENTORY   OF   1609 

In  the  Hall 

Itm  two  long  tables  vidz'  thone  of  walnottree*  the  other  of  firr  price  iii" 

Itm  *a  Deare's  head  that  came  out  of  Ireland  price  ii8  vid 

Itm  *xiii  old  Emperors  heads  of  Roome  xiii' 

Itm  *  a  written  table  called  the  theater  of  the  world  in  golden  tres  price  v" 

Itm  *  Raphaell  Orbines  his  picture  vid  (?vi') 

Itm   Henrie  the  8  Edward  the  VI  Quene  Mary  Quene  Elizabeth  cutt  in 
marble*  the  pictures  of  Arristotle  Plato  my  Lord  of  Arrundell's  Creaste 

the  birth  of  Christ  in  allabaster  price  xl' 

Itm  vi  old  Emperors  in  marble  x' 

Itm  the  storie  &  pictures  of  Mars  &  Venus  price  iii'  iiiid 

Itm  Hercules  picture*  &  the  picture  of  Tyme*  price  v3 

In  the  Great  Chamber 

Itm  *xv  pictures  of  my  Lord  Lumlei's  Ancestors  wth  a  pillar  of  his  pedigree 

price  viii1' 

Itm  a  picture  of  the  storie  of  the  Passion  *  wth  a  sersnet  curtaine  the  picture 
of  my  Lord  Lumley  in  Armoure  wth  his  two  wyves*  his  sonne  Charles* 
&  the  old  Earle  of  Arundell*  the  storie  of  the  birth  of  Christe*  &  the 
nyne  worthies  neeled  in  glass*  together  wlh  the  picture  of  Christe*  & 
two  gloobes  in  plaine  price  xiii11 

Itm  two  long  drawinge  tables  of  Walnottree  one  folding  table  of  wainscott  & 

a  little  table  of  wainscott  price  v1' 

Itm  one  merketree  table  wth  the  frame  price  xl' 

Itm  two  fyne  merketree  cupbords  &  two  liverey  cupbords  price  xiii1' 

Itm  6  wallnottree  formes  &  24  stooles  of  wallnottree  price  I' 

Itm  6  walnottree  chaires  price  xxx' 

In  the  Saule 

Itm  76  little  pictures  price  xiiu 

Itm  xv  greate  pictures  price  v" 

Item  ten  marble  tablets  wth  their  frames  xxx" 

Itm  one  fountaine  price  xu 

In  the  Drawinge  Chamber 

Itm  xix  pictures  price  vi11  vi'  viiid 
Itm  three  other  pictures  vidz'  Quene  Maries*  Quene  Elizabeths*  &  Con- 

stantynes  the  great  price  x' 

Itm  viii  paire  of  brasse  handirons  &  3  paire  pcell  Copper  vi"  xiii'  iiii'1 

Itm  one  chimney  pece  of  white  marble  wth  Cherubins  price  xl" 

Itm  x  square  oake  &  elme  tables  &  liverie  Cupbords  sutable  iii"  vi'  viiid 

Itm  vi  paire  of  fire  shovels  &  tonges  iii' 

Itm  one  steele  glasse  price  xiid 
Itm  vi  standing  bedsteads  &  two  sparver  bedsteads  thone  gilte  thother  plaine 

price  viii" 

*  An  asterisk  denotes  that  the  item  can  be  identified  in  the  Lumley  '  Red  Velvet  Book ',  which 
includes  the  inventory  of  1590.  The  prices  indicated  are  so  ludicrous  that  they  can  hardly  have 
been  intended  as  a  serious  attempt  at  valuation,  even  allowing  for  gross  ignorance  on  the  part  of 
the  valuers,  and  for  the  difference  in  the  worth  of  money. 


A  LUMLEY   INVENTORY   OF   1609  43 

I  tin  91  pictures  in  the  gallery  &  4  in  the  wardropp  price  xlu 

Itm  one  wainscott  table  in  the  gallerie  price  xx' 

Itm  20  wainscott  stooles  &  iiii  wainscott  serenes  price  xxvi' 

Itm  one  old  iron  chist  &  a  firre  chist  price  x" 

The  total  of  all  these  pticulers  as  they  are  above  prised 

amounteth  to  the  sume  of 

mcccciiii"  xvii*  viiid 

Lyonell  Maddison  \       / 

Ty.  Drap  I   Date  of  Will  25th  January,  1606 

William  Bonner  |   Date  of  Inventory  24th  April,  1609 

Richard  Read  j  Date  of  Probate,  1609 

Rob1  Porrett 


It  is  not  without  interest  to  read  in  conjunction  with  the  above,  the  description 
of  Lumley  Castle  and  its  contents  printed  by  Pennant  in  his  Tour  in  Scotland. 
This  account  will  be  found  in  the  editions  of  that  work  published  in  1776  (p.  321) 
and  1 790  (p.  319),  possibly  in  some  others.  It  is  reprinted  below  from  the  edition 
of  1790.  The  fact  that  it  is  not  found  in  all  editions  of  the  Tour  in  Scotland, 
coupled  with  the  circumstance  that  the  descriptions  of  certain  portraits  arc 
verbally  identical  with  those  of  the  Literary  Cabinet,  as  given  by  Mr.  Cust  on 
p.  30  of  the  present  volume,  points  to  the  conclusion  that  Pennant's  notes  on 
the  Lumley  pictures — as  apart  from  those  on  the  Castle  itself — were  not  derived 
from  personal  observation,  but  were  incorporated  from  some  extraneous  source. 
The  two  accounts  appear,  in  fact,  to  have  a  common  origin  :  that  of  the  Literary 
Cabinet  containing  the  larger  number  of  entries,  while  the  notes  of  the  Tour  in 
Scotland  can  lay  greater  claim  to  accuracy. 

Pennant  enriched  these  notes  with  historical  observations  on  the  persons 
concerned.  Although  not  invariably  correct  from  the  point  of  view  of  modern 
research,  his  comments  are  so  redolent  of  eighteenth-century  atmosphere,  and 
add  so  much  piquancy  and  colour  to  the  list  of  items  enumerated,  that  they  arc 
here  reproduced  verbatim,  together  with  Pennant's  foot-notes. 

Extract  from  Pennant's  Tour  in  Scotland  (ed.  1790,  p.  319). 

At  a  fmall  diftance  from  the  town,  (lands  Lumley  caftle,  the  antient  feat  of  the  name. 
It  is  a  fquare  pile,  with  a  court  in  the  middle,  and  a  fquare  tower  at  each  corner;  is 
modernized  into  an  excellent  houfe,  and  one  of  the  feats  of  the  Earl  of  Scarborough.  It  is 
faid  to  have  been  built  in  the  time  of  Edward  I.  by  Sir  Robert  de  Lumley,  and  enlarged  by 
his  fon  Sir  Marmaduke.  Prior  to  that,  the  family  residence  was  at  Lumley,  (from  whence 
it  took  the  name)  a  village  a  mile  fouth  of  the  Caftle,  where  are  remains  of  a  very  old 
hall-houfe,  that  boafts  a  greater  antiquity.  The  former  was  not  properly  cancellated,  till  the 
year  1392,  when  Sir  Ralph  (the  firft  Lord  Lumley)  obtained  from  Richard  II.  Licentiam 
caltrum  fuum  de  Lomley  denovo  edificandum,  muro  de  petra  et  cake  batellare  et  kernellare 
et  caftrum  illud  sic  batellatum,  et  kernellatum  tenere,  &c.  This  Sir  Ralph  was  a  faithful 

G  2 


44  THE   LUMLEY  INVENTORIES 

adherent  to  his  unfortunate  fovereign,  and  loft  his  life  in  his  caufe,  in  the  infurrection,  in 
the  year  1400,  againft  the  ufurping  Henry.  There  are  no  dates,  except  one  on  a  fquare 
tower;  I.  L.  1570,  when,  I  prefume,  it  was  rebuilt  by  John  Lord  Lumley. 

Portraits.  The  houfe  is  a  noble  repofitory  of  portraits,  of  perfons  eminent  in  the  fixteenth  century. 

Earl  of  The  brave,  impetuous,  prefuming,  Robert,  Earl  of  EJJex,  appears  in  full  length,  dreffed 

in  black,  covered  with  white  embroidery.  A  romantic  nobleman,  of  parts  without  difcretion  ; 
who  fell  a  facrifice  to  his  own  paffions,  and  a  vain  dependence  for  fafety  on  thofe  of  an 
aged  queen,  doting  with  unfeafonable  love ;  and  a  criminal  credulity  in  the  insinuation  of 
his  foes. 

Sir T.  More.  Sir  Thomas  More;  a  half  length,  dreffed  in  that  plainness  of  apparel  which  he  ufed, 
when  the  dignity  of  office  was  laid  afide :  in  a  furred  robe,  with  a  coarse  capuchin  cap. 
He  was  the  moft  virtuous,  and  the  greateft  character  of  his  time ;  who,  by  a  circumftance 
that  might  humiliate  human  nature,  fell  a  victim  for  a  religious  adherence  to  his  own 
opinion  :  after  being  a  violent  perfecutor  of  others,  for  firmnefs  to  the  dictates  of  their  own 
confcience.  To  fuch  inconfiftencies  are  the  beft  of  mankind  liable  ! 

Earl  of  The  gallant,  accomplifhed,  poetical  Earl  of  Surry ;  in  black,  with  a  fword  &  dagger, 

Surry.          the  jate  ^^    -phe  ornament  (fays  Mr  Walpole]  of  a  boifterous,  yet  not  unpolifhed  court, 
a  victim  to  a  jealous  tyrant,  and  to  family  difcord.    The  articles  alledged  againft  him,  and  ' 
his  conviction,  are  the  fhame  of  the  times. 

Countess  of  A  portrait  of  a  lady  in  a  fingular  drefs  of  black  &  gold,  with  a  red  &  gold  petticoat, 
dated  1560.  This  is  called  Elizabeth,  third  wife  of  Edward,  Earl  of  Lincoln,  the  fair 
Geraldine,  celebrated  fo  highly  by  the  Earl  of  Surry ;  but  fo  ill-favored  in  this  picture,  that 
I  muft  give  it  to  his  firft  wife,  Elizabeth  Blount.  Geraldine  was  the  young  wife  of  his  old 
age.  Her  portrait  at  Woburn  reprefents  her  an  object  worthy  the  pen  of  the  amorous  Surry. 

Ambrose  Ambrofe  Dudley,  Earl  of  Warwick,  fon  of  the  great  Dudley,  Duke  of  Northumberland. 

Warwick  ^'s  drefs  a  Donnet»  furred  cloak,  fmall  ruff,  and  pendant  George.  This  peer  followed  the 
fortunes  of  his  father,  but  was  received  into  mercy,  and  reftored  in  blood  ;  was  created  Earl 
of  Warwick  by  Queen  Elizabeth,  and  proved  a  gallant  &  faithful  fubject.  He  died  in  1589, 
&  lies  under  an  elegant  brafs  tomb  in  the  chapel  at  Warwick. 

Sir  William          Sir   William  Peter,  or  Petre,  native  of  Devon/hire,  fellow  of  All-Souls  College,  and 
afterwards  fecretary  of  ftate  to  four  princes;  Henry  VIII.,  Edward  VI.;  Mary,  &  Elizabeth. 
His  prudence,  in  maintaining  his  poft  in  reigns  of  fuch  different  tempers,  is  evident;  but  in 
that  of  Mary  he  attended  only  to  politics;  of  Elizabeth,  to  religion.* 
The  firft  Earl  of  Bedford,  engraven  among  the  illuftrious  heads. 

Paracelsus.  A  half-length  of  the  famous  eccentric  phyfician  and  chymift  of  the  fifteenth  century, 

Philip  Theophrafius  Paracelsus  Bombaft  de  Hohenheim  :  on  the  picture  is  added  alfo  the  title 
of  Aureolus.  The  cures  he  wrought  were  fo  very  furprizing  in  that  age,  that  he  was 
fuppofed  to  have  recourfe  to  fupernatural  aid ;  and  probably,  to  give  greater  authority  to  his 
practice,  he  might  infinuate  that  he  joined  the  arts  medical  &  magical.  He  is  reprefented 
as  a  very  handfome  man,  bald,  in  a  clofe  black  gown,  with  both  hands  on  a  great  fword,  on 
whofe  hilt  is  infcribed  the  word  Azof.  This  was  the  name  of  \\isfamiliarfpirit,  that  he  kept 
imprifoned  in  the  pummel,  to  confult  on  emergent  occafions.  Butler  humourously  dekribes 
this  circumftance  : 

Bombaftus  kept  a  devil's  bird 
Shut  in  the  pummel  of  his  fword  ; 
That  taught  him  all  the  cunning  pranks 
Of  paft  or  future  mountebanks.f 

*  Dugdale's  Baron  II.  388.     Prince's  Worthies  of  Devonshire.  498. 
t  Hudibras,  part  II.  c.  iii. 


THE  LUMLEY  INVENTORIES  45 

A  head  of  Sir  Anthony  Brown,  a  favourite  of  Henry  VIII.  with  a  bufhy  beard,  bonnet,  Sir  Anthony 
and  order  of  the  garter.     He  was  matter  of  the  horfe  to  that  prince,  and  appointed  by  him  Brown- 
one  of  the  executors  of  his  will ;  &  of  the  council  to  his  young  succeffor. 

Two  full  lengths  of  John  Lord  Lumley :  one  in  rich  armour,  a  grey  beard,  dated  1588,  John  Lord 
aet.  54 ;  the  other  in  his  robes,  with  a  glove  and  handkerchief  in  one  hand,  a  little  black  Lumley. 
skull-cap,  white  beard,  dated   1591.     This,   I  believe,  was  the  performance  of  Richard 
Stevens,  an  able  ftatuary,  painter,  &  medallift,  mentioned  by  Mr  Walpole.* 

This  illuftrious  nobleman,  reftored  the  monuments  that  are  in  the  neighbouring  church, 
was  a  patron  of  learning,  and  a  great  collector  of  books,  affifted  by  his  brother-in-law, 
Humphrey  Lhuyd,  the  famous  antiquary.  The  books  were  afterwards  purchafed  by  James  I. 
and  proved  the  foundation  of  the  royal  library.  Mr  Granger  says,  that  they  are  a  very 
valuable  part  of  the  Briti/h  Mufeum. 

His  firft  wife,  Jane  Fitzallan,  daughter  of  the  Earl  of  Arundel ;  in  black  robes,  with 
gloves  in  her  hand.  She  was  a  lady  of  uncommon  learning,  having  tranflated,  from  the 
Greek  into  Latin,  fome  of  the  orations  of  IJocrates,&.  the  Iphigenia  of  Euripides  into  Engli/h. 
She  compliments  her  father  highly  in  a  dedication  to  him,  prefixed  to  one  of  the  orations, 
which  begins,  '  Cicero,  Pater  honoratiffime,  illuftrif '.  She  died  before  him,  &  was  buried  at 
Cheame,  in  Surrey,  f 

The  Earl  himfelf,  the  laft  of  that  name  :  a  three-quarters  piece.    His  valour  distinguifhed  Earl  of 
him  in  the  reign  of  Henry  VIII.  when  he  ran  with  his  squadron  close  under  the  walls  of  Arundel- 
Boulogne,  &  foon  reduced  it.    In  the  following  reign,  he  oppofed  the  mifufed  powers  of  the 
unhappy  Protector,  Somerfet;  and  yet  declined  connection  with  the  great  Northumberland. 
He  fupported  the  juft  rights  of  Queen  Mary ;  was  imprifoned  by  the  former,  but  on  the 
revolution  was  employed  to  arreft  the  abject  fallen  duke.     He  was  clofely  attached  to  his 
royal  miftrefs  by  fimilitude  of  religion.     In  his  declining  years,  he  aimed  at  being  hufband 
to  Queen  Elizabeth.^.    Had  her  majefty  deigned  to  put  herfelf  under  the  power  of  man,  (he 
never  would  have  given  the  preference  to  age.    On  his  difappointment,  he  went  abroad  ; 
and,  on  his  return,  firft  introduced  into  England  the  ufe  of  coaches.§ 

A  half-length  of  that  artful  ftatefman,  Robert  Earl  of  Salujbury,  minifter  of  the  laft  Robert 
years  of  Elizabeth,  and  the  firft  of  James  I.  lalusbury 

Thomas  Ratcliff,  Earl  of  Suffex,  ||  a  full  length  ;  young  and  handfome ;  his  body  armed,  Ratc|jff 
the  reft  of  his  drefs  white  ;  a  staff  in  his  right  hand,  his  left  refting  on  a  fword  ;  on  a  table  Earl  of' 
a  hat,  with    a   vaft    plume.    This  motto,  amando   et  fidendo   troppo  Jon  ruinato.    This 
nobleman  was  a  considerable  character  in  the  reigns  of  Mary  and  Elizabeth ;   frequently 
employed   in   embaflles;   in  both  reigns  deputy  of  Ireland;    and  in  the   firft,  an  active 
perfecutor  of  the  proteftants.     He  conformed  outwardly  to  the  religion  of  his  new  miftrefs ; 
was  appointed  by  her  prefident  of  the  north,  and  commanded  againft,  and  fuppreffed,  the 
rebellion  of  the  Earls  of  Northumberland  and  Westmoreland,  notwithftanding  he  fecretly 

*  Anecd.  Painting.  I.  161. 

t  She  was  dead  before  December  3oth,  1579,  as  appears  by  her  father's  will.  Vide  Bollard's 
British  Ladies,  86. 

t  Catnden's  Annals.     Kennet,  383.  §  Idem. 

||  Thomas  Ratcliff  or  Radcliffe,  third  Earl  of  Sussex  (not  Essex,  as  given  on  p.  30  in  the 
Literary  Cabinet),  was  the  uncle  of  Robert,  fifth  Earl.  It  seems  doubtful,  however,  whether  Robert 
is  not  the  personage  intended  throughout  these  catalogues :  especially  as  the  first  entry  (p.  22)  gives 
that  name,  which,  being  contemporary,  is  more  likely  to  be  correct.  Moreover,  he  is  here  described 
as  young  and  handsome,  whereas  Thomas,  third  Earl,  had  been  dead  ten  years  in  1593.  the  date 
given  on  p.  22.  Robert,  fifth  Earl,  on  the  other  hand,  succeeded  to  the  title  in  1593,  at  the  age 
of  about  twenty-four.  It  is  probable  therefore  that  Pennant's  historical  comments  are  incorrect, 
applying  to  the  uncle  instead  of  to  the  nephew  (M.  F.  S.  H.). 


46 


THE  LUMLEY   INVENTORIES 


Carevv. 


Kiilegrew. 


Due  d'AIua. 


approved  the  opinions  they  armed  in  favor  of.     He  was  the  fpirited  rival  of  Leicefter;  but 
the  death  of  Suffex  left  the  event  of  their  difpute  undetermined. 

Leicefter,  his  antagonift,  is  here  reprefented,  in  a  three-quarter  piece,  dated  1587,  with 
the  collar  of  the  garter,  &  a  staff  in  his  hand. 

A  fine  full  length  of  the  Duke  of  Mpnmouth,  with  long  hair,  in  armour. 

SirNicholas  A  half  length  of  Sir  Nicholas  Carew,  master  of  the  horfe  to  Henry  VIII.  There  is 
vaft  fpirit  in  his  countenance.  In  his  hat  is  a  white  feather ;  his  head  is  bound  round  with 
a  gold  ftuff  handkerchief.  He  was  beheaded  in  1539,  as  Lord  Herbert  fays,*  for  being 
of  council  with  the  Marquis  of  Exeter,  a  favourer  of  the  dreaded  Cardinal  Pole,  then  in 
Exile.  During  the  time  of  his  confinement  in  the  Tower  he  imbibed  the  fentiments  of 
the  reformers,  and  died  avowing  their  faith.t 

Killigrew,  gentleman  of  the  bedchamber  to  Charles  II.  in  a  red  fafh,  with  his  dog. 
A  man  of  wit  and  humour;  and  on  that  account  extremely  in  favor  with  the  King. 

A  good  half  length  of  Mr  Thomas  Windham,  drowned  on  the  coaft  of  Guinea,  aged 
42,  MDL.  a  robuft  figure,  in  green,  with  a  red  fafh,  and  gun  in  his  hand. 

A  three-quarter  length,  unknown,  dated  1596,  aged  43,  dreffed  in  a  ftriped  jacket,  blue 
and  white ;  black  cloak  &  breeches,  white  ruff,  gloves  on,  collar  of  the  garter. 

Here  are  alfo  fome  illuftrious  foreigners.  A  half  length,  infcribed  Fernandez  de  Toledo, 
Duke  of  Alva,  in  rich  armour,  with  his  baton  ;  fhort  black  hair,  and  beard.  A  great  officer, 
and  fortunate  till  his  reign  of  cruelty.  He  boafted,  that  he  had  caufed,  during  his  command 
in  the  Low  Countries,  eighteen  thoufand  people  to  perifh  by  the  executioner.  He  vifited 
England  in  the  train  of  his  congenial  matter,  Philip  II.  I  imagine  that  this  portrait  was 
painted  when  the  Duke  was  young;  for  I  have  feen  one  (fent  into  England  by  the  late 
Mr  Benjamin  Keen)  now  in  poffeffion  of  the  Bifhop  of  Ely,  which  reprefents  him  with 
a  vaft  flowing  white  beard. 

A  three  quarter  length  of  Andreiv  Doria,  the  great  Genoefe  Admiral,  and  patriot.  He 
is  dreffed  in  black,  in  a  cap,  a  collar,  with  the  fleece  pendent;  a  truncheon  in  his  hand,  & 
a  dagger  in  his  girdle.  View  of  fhips  through  a  window. 

Garcia  Sarmienta  Curia;  a  full  length,  in  armour;  a  ruff,  red  ftockings,  white  fhoes, 
a  crofs  on  his  breaft,  a  fpear  in  his  hand.  He  was  captain  of  the  guard  to  Philip  II. 

A  three  quarter  length  of  a  man  in  a  fcarlet  robe ;  and  over  his  left  fhoulder  a  white 
mantle;  a  fcarlet  cap  tied  in  the  middle,  and  open  behind;  a  narrow  white  ruff;  and 
a  collar  of  the  fleece.  The  fcarlet  robe  is  furred  with  white :  on  it  are  feveral  times 
repeated  thefe  words:  Ah!  amprins  au  ra  jay!  Oh!  had  I  undertaken  it! 

In  the  hall  is  a  tablet,  with  the  whole  history  of  Liulphus,  and  his  progeny,  infcribed 
on  a  tablet,  furrounded  with  the  family  arms ;  and  round  the  room  feventeen  pictures  of 
his  dependents,  down  to  John  Lord  Lumley,  who  feemed  to  have  a  true  veneration  for  his 
anceftors.  Liulphus  appears  again  in  the  kitchen,  mounted  on  a  horfe  of  full  fize,  &  with 
a  battle-ax  in  his  hand.  When  James  I.  in  one  of  his  progreffes,  was  entertained  in  this 
caftle,  William  James,  bifhop  of  Durham,  a  relation  of  the  houfe,  in  order  to  give  his 
majesty  an  idea  of  the  importance  of  the  family,  wearied  him  with  a  long  detail  of  their 
anceftry,  to  a  period  even  beyond  belief.  O  man,  fays  the  king,  gang  na  farther,  let  me 
digejl  the  knowledge  I  ha  gained ;  for,  by  my  faul,  I  did  na  ken  that  Adam's  name  was 
Lumley. 


Andrew 
Doria. 


Hist.  Henry  VI 1 1.  503. 


t  Hollinfhead.  946. 


THE    LUMLEY   INVENTORIES 


INDEX  OF  PORTRAITS,   STATUES,   AND  ARTISTS 


Albertus,  Cardinal,  of  Austria,  25. 

Alerter!,   Francois  due   d'  (brother  to  Valois 

'  last  Kinge  of  Fraunce  '),  22. 
Alva,  Duke  of,  25,  31,  32  (1557),  46. 
Andreas  Auria :  see  Doria,  Andrea. 
Anne  Boleyn,  21. 
Argyle,  Duke  of,  35. 
Ariosto,  20,  25,  28. 
Arras,  Anthony  Grandville,  Cardinal  and  Bishop 

of,  23. 
Arthur,  Prince  of  Wales  (eldest  son  of  Henry 

VII),  22. 
Arundel,  Anne  Dacre  (wife  of  Philip  Howard), 

Countess  of,  26. 

— ,  Henry  FitzAlan,  Earl  of,  22  (2),  23,  31, 

32,  35.  42. 

— ,  Mary  Arundell  (2nd  wife  of  Henry  Fitz- 
Alan), Countess  of,  26. 

— ,  Philip  Howard,  Earl  of,  23. 
Askott,  Duke  of,  25  (1583). 

Bacon,  Sir  Nicholas,  24. 

Bedford,  John  Russell  ist  Earl  of,  23,  31  (2), 

35,  44- 

Berkeley,  Countess  of,  33. 

Blacket,  Lady,  32. 

Boccaccio,  25  (Bocchas). 

Borough,  Thomas  de  Burgh,  Baron,  22  (in 
Garter  robes). 

Bourbon,  Duke  of,  25. 

Braye,  John,  2nd  Baron,  24. 

Broughe,  Thomas,  Lord  :  see  Borough,  Baron. 

Browne,  Sir  Anthony,  24,  31,  40,  45. 

Browne,  Anthony,  son  of  foregoing :  see  Mon- 
tague, Viscount. 

'  Buckenel  the  Scott ',  25. 

Buckingham,  Duke  of,  23,  30,  32,  34. 

Burghley,  William  Cecil,  Lord,  24,  32,  33. 

Cabot,  Sebastian,  25. 

Candishe  (Cavendish),  Thomas,  24. 

Carew,  Sir  Nicholas,  24,  31,  33,  40,  46. 

Cecil,  William,  31. 

Charles  V,  Emperor  of  Spain,  24. 

Charles  I,  32  (on  horseback),  34. 

-  II,  30  (on  horseback),  33  (in  armour). 
Charlotte,  wife  of  George  III,  34  (The  QueenJ. 


Chaucer,  Geoffrey,  25. 

Churchyard,  Mr.,  24. 

Clarence,  Lionel,  Duke  of,  15  (statue  of). 

Cleave,  Haunce  :  see  Van  Cleef. 

Cleef,  Van  :  see  ditto. 

Cromwell,  Thomas,  23. 

Dante,  25. 

Darcy  of  Chiche,  Thomas,  ist  Baron,  22. 

— i ,  Thomas,  3rd  Baron,  created  Earl  of 

Rivers,  23. 

— , ,  Mary  Kytson,  Countess  of  Rivers, 

wife  of  ditto,  26. 
Darnley,  Lord,  and  his  brother,  Charles  Stuart, 

22. 

De  la  Marche,  Count,  28. 

De  Loyola,  Ignatius,  25. 

De  Poindre,  Jacob,  19,  25  (2). 

De  Roye,  Phillip,  25. 

Doria,   Andrea,    25    (Andrew    Dore),    30,   32 

(Auria),  35  (Peter  Patrice),  46. 
Dorset,    Margaret    Wotton    (wife    of   Thomas 

Gray),  Marchss.  of,  26. 
Drake,  Sir  Francis,  24. 
Drury,  Sir  William,  24. 
Dflrer,  Albert,  19,  23. 
Dyer,  Edward,  24. 

Edmund  (of  Langley),  Earl  of  Cambridge  and 

Duke  of  York,  15  (statue  of). 
Edward  III  (statue  of),  15. 

-  IV,  22. 

-  VI,  21,  31,  32,  34,  42  (marble). 

-  VI,  as  Prince  of  Wales,  15  (statue  of),  22. 
Egmont,  Count  of,  25. 

Elizabeth  (wife  of  Charles  IX),  25. 

-  Wydevile  (wife  of  Edward  IV),  25. 

-  Plantagenet  (wife  of  Henry  VII),  22. 

— ,  Queen,  15  (statue  of),  22  (2),  30,  32,  42 

(statue  of),  42  (painting). 
Erasmus,  24,  39. 
Essex,  Frances  Walsingham,  Countess  of,  26, 35. 

— ,  Robert  Devereux,  2nd  Earl  of,   23,  31, 

32.  35,  44- 
,  Thomas  Ratcliff,   Earl   of:   see  Sussex, 

Robert  Radcliffe,  Earl  of. 
Eworth,  Haunce,  15,  19,  24,  25,  26. 


48 


THE  LUMLEY  INVENTORIES 


Ferdinand,  Duke  of  Mar  (sic),  30. 
Fisher,  John,  Bishop  of  Rochester,  23. 
Fliccus,  Gerlach  (or  Flick),  19,  22  (2),  23. 
Floris,  Frans,  19,  26,  27. 
Frederick,  Prince  of  Wales,  33. 

Gabote,  Sebastian  :  see  Cabot. 
Garcia  Sarmiento  Cuna,  30,  34,  46. 
Garlick  :  see  Fliccus. 
George-Augustus-Frederick,  afterwards  George 

IV,  34  (the  Prince  of  Wales). 
Geraertez,  Balthazar,  21,  25. 
Gloucester,  Thomas  of  Woodstock,   Duke  of, 

15  (statue  of). 

Grandville,  Anthony  :  see  Arras,  23. 
Grey  of  Wilton,  Arthur,  Lord,  23. 

— ,  Lady  Jane,  26. 

— ,  -    -  Katherine,  26. 
Guildford,  Sir  Henry,  24,  39. 

— ,  Lady  (wife  of  ditto),  26,  39. 
Guise,  Henri,  Due  de,  25. 

Halifax,  Lady,  32. 

Hatton,  Sir  Christopher,  22. 

Haward  ('a  Dutch  Juellor '),  brother  of  Haunce 

E  worth,  25. 

Hawkins,  Sir  John,  24. 
Heneage,  Sir  Thomas,  24. 
Henry  Illrd  Emperor  (Henry  V  of  Germany), 

24. 

-  of  Valois,  King  of  France,  25. 

—  of  Navarre,  King  of  France,  21. 

-  IV,  22,  25. 

-  V,  22. 

-  VI,  22. 
-VII,  22. 

-VII  and  Henry  VIII,  21. 

-VIII,  15  (statue  of),  21,  22,  33  (2),  42 

(statue  of). 

Hertford,  Katherine  Grey,  Countess  of,  26. 
Hilliard,  Nicholas,  27. 
Holbein,  Hans,  19,  21  (2),  24  (3),  26,  27,  30,  32, 

33,  39- 

Home,  Count  de,  22  (in  robes). 
Howard  of  Effingham,  Lord  Charles,  22. 

— ,  Mrs.  Ogle,  33. 
Hubbert  (painter),  19,  23,  24  (2),  26. 
Huntingdon,  Catherine  Dudley  (wife  of  Henry 

Hastings),  Countess  of,  26. 

Isabel,  wife  of  Charles  V  (of  Spain),  25. 
,  daughter  of  Philip  II  (of  Spain),  25. 


Jane,  Queen  (mother  of  Edward  VI),  25. 
John  of  Gaunt,  Duke  of  Lancaster,  15  (statue  of). 
Julius  II,  Pope,  23. 
Julius  Caesar,  24. 

Katherine  of  Arragon,  Queen,  25. 

Parr,  5th  wife  of  Henry  VIII,  25. 

Kelly,  Sir  Edward,  24. 

Killigrew,  Sir  Thomas,  31  (2),  34,  46. 

Lasle,  John  (?John  Leslie,  or  Lesley,  Bishop 

of  Ross  (1527-1596)),  32. 
Leicester,  Robert  Dudley,  Earl  of,  22,  23  (2), 

30,  32,  35,  46- 

Lely,  Sir  Peter,  31,  33  (3),  34. 
Lennox,  the  Lady  Margaret,  26. 
Lincoln,  Elizabeth  Girald  (3rd  wife  of  Edward 

Fines),  Countess  of,  26,  31  (miscalled  Countess 

of  Essex),  32  (1560),  35  (ditto),  44. 

,  Henry  Clinton,  Earl  of,  23. 

Lionel   (of  Antwerp),    Duke   of  Clarence,    15 

(statue  of). 

Lovell,  Sir  Thomas,  24. 
Loyola,  Ignatius  de,  25. 
'  Lucios  (?),  the  paynter ',  28. 
Lumley,  Family  Portraits,  21,  30,  32,  33,  34,  42. 

— ,  Charles  (son  of  John,  Lord  Lumley,  died 

young),  21. 

— ,  Hon.  Charles,  33. 
-  Children  (Hon.  Richard  and  Thomas),  33. 

— ,  Elizabeth  D'Arcy,  2nd  wife  of  John,  Lord 


Lumley,  21,  26,  42. 
— ,  General,  32. 
— ,  Lady  Harriet,  33. 
— ,  Hon.  James,  33. 

— ,  Jane  FitzAlan,  ist  wife  of  John,  Lord 
Lumley,  21,  26,  30,  32  (half-length),  34,  42, 45. 
-,  John,  Lord,  22  (in  robes),  23,  30  (5),  32 


(half-length),    32   (in   armour,    1588),    32  (in 
robes,  1591),  34  (1503),'  34  (in  armour,  1588), 
34  (in    robes),  42  (in  armour),  45  (ditto),  45 
(in  robes). 
— ,  Hon.  John,  33. 
— j  Mr.,  32,  34. 
-,  Ralph,  31  (1567),  32  (ditto). 


Lutterel,  Sir  John,  24. 
'  Lyneux,  the  old  Earle  of '  (?  Matthew  Stuart, 
4th  Earl  of  Lennox,  Regent  of  Scotland),  23. 
Lyulphus,  equestrian  statue  of,  34,  46. 

Maltravers,  Henry,  Lord,  23. 

Margaret  of  Anjou  (wife  of  Henry  VI),  25. 


1  This  is  a  misprint  in  the  Catalogue  for  1563. 


THE   LUMLRY   INVENTORIES 


49 


Marlow,  33. 

Mary  Medici,  wife  of  Henry  Bourbon,  King  of 

France,  26. 
Mary,  Queen,    15  (statue   of),    22,    30,  32,    42 

(statue),  42  (painting). 

— ,  Queen  of  Scots,  25. 
Maximilian,  Emperor,  24. 
Milan,  Christina,  Duchess  of,  21,  39. 
Monmouth,  Duke  of,  30,  32,  34,  46. 
'  Monseur" :  see  Alencon,  due  d'. 
Montague,  Sir  Anthony  Browne,  Viscount,  23. 

32,  35- 

Morley,  Henry  Parker,  Lord,  23  (1523),  40. 
More,  Sir  Thomas,  19,  24,  31,  32,  34,  40,  44. 
Moro,  Antonio,  19,  25. 
Mounteny,  Count  de,  22  (in  robes). 

Norfolk,  John  Howard,  ist  Duke  of,  23. 

— ,  Thomas  Howard,  2nd  Duke  of,  23. 

— ,  -  — ,  3rd  Duke  of,  23. 

— ,  -  — ,  4th  Duke  of,  23. 

— ,  Mary  Fitzalan,  Duchess  of,  26. 
Northampton,  Helen  Suavenburgh,  Marchioness 

of,  26. 

— ,  William  Parr,  Marquess  of,  23. 
Northumberland,  Thomas  Percy,  7th  Earl  of,  23 

Orange,  William  Nassau,  Prince  of,  21. 

— ,  Princess  of,  21. 
Oxford,  Edward,  Earl  of,  22. 

Paracelsus,  Theophrastus,  25,  31,  35,  44. 
Parma,  Duke  of,  25. 

— ,  Duchess  of,  21. 
Patrice,  Peter :  see  Doria,  Andrea. 
Pembroke,  William  Herbert,  ist  Earl  of,  22. 
Peter,  Sir  John,  24,  31,  32,  35. 

— ,  Sir  William,  24,  30,  32,  35,  44. 
Petrarch,  25. 

Philip  II,  of  Spain,  21,  22,  32,  33. 
Pindar,  Jaques:  see  De  Poindre. 
Poland,  Stephen  Batre,  King  of,  22,  25  (1583). 

— ,  Sigismond,  King  of,  22. 
Pole,  Cardinal,  23. 

Queen,  The  (Charlotte,  wife  of  George  III),  34. 

Raphael  of  Urbino,  25,  27,  42. 
Rembrandt,  33  (3). 


Richard  11,  22. 

-  111,22. 

Rich,  Richard,  ist  Baron,  of  Leeze,  23. 
Richmond  and  Somerset,  Henry  Fitzroy,  Duke 

of,  22. 

Richmond  and  Derby,  Margaret,  Countess  of,  25. 
Rochester,  John  Fisher,  Bishop  of,  23. 
Rockingham,  Marquis  of,  34. 
Russell,  John,  Lord,  30. 

Salisbury,  Robert  Cecil,  Earl  of,  24,  30,  32,  45. 

— ,  Margaret  Plantagenet,  Countess  of,  26. 
Saunderson,  Sir  Thomas,  35. 
Saville,  Sir  George,  34. 
Savoy,  Duke  of,  25. 

— ,  Duchess  of,  25. 
Scarborough,  Richard  Lumley,  ist  Earl  of,  32  (2). 

— ,  Countess  of,  34. 
Schorel,  Jan,  of  Utrecht,  19,  27. 
Seigar  (painter),  19,  23  (3),  24  (3). 
Sert,  Duke  of,  25. 

Seymour,  Thomas,  Baron,  of  Sudeley,  23. 
Sheffield,  Edmund  Sheffield,  ist  Baron,  23. 
Shelley,  Edward,  24. 
Shore,  Jane,  26. 
Shrewsbury,  John  Talbot,  ist  Earl  of,  23. 

— ,  Gilbert  Talbot,  ?th  Earl  of,  23. 

— ,  Margaret Beauchamp(wife of  JohnTalbot), 

Countess  of,  26. 
-,  Mary  Cavendish  (wife  of  Gilbert  Talbot), 


Countess  of,  26. 
Sidney,  Sir  Philip,  24. 
Somer,  William,  25. 
Somerset,  Anne  Stanhope,  Duchess  of,  26. 

— ,  Edward  Seymour,  ist  Duke  of,  23. 
Southampton,  Thomas  Wriothesley,  Earl  of,  23. 

— ,  William  FitzWilliams,  Earl  of,  23. 
'Steven'  (the  painter),   19  (Richard  Stevens), 

23  (2),  25,  26,  30  (ditto). 
Stukeley,  Sir  Thomas,  25. 
Suffolk,  Charles  Brandon,  ist  Duke  of,  23. 
Suffolk,  Duke  of,  30,  32,  34.' 
Surrey,  Henry  Howard,  Earl  of,  23  (miscalled 

Thomas),  31,  32  (1545),  35  (1545).  44- 

— ,  Elizabeth,  Countess  of,  31.* 
Sussex,  Robert  Radcliffe,  fifth  Earl  of,  22,  30, 

32.  34.  45-' 


1  It  is  doubtful  whether  these  entries  refer  to  Charles  Brandon,  Duke  of  Suffolk  (mentioned  immediately  above),  or  to 
Henry  Grey,  Duke  of  Suffolk,  executed  in  1554,  when  the  dukedom  became  extinct.  In  any  case,  the  date  1593  given 
to  the  Duke  of  Suffolk  on  p.  30  seems  to  have  been  accidentally  transferred  ot  course  in  the  original  list)  from  the  preceding 
name,  that  of  Sussex,  to  whom  it  rightfully  belongs.  (See  note,  p.  45.  There  was  no  Duke  of  Suffolk  in  1593. 

1  Should  be  Elizabeth,  Countess  of  Lincoln. 

*  See  note,  p.  45. 


VI. 


H 


THE   LUMLEY   INVENTORIES 


Thomas  (of  Woodstock),  Duke  of  Gloucester, 

15  (statue  of). 
Townsend,  Lord,  35. 
Transylvania,  Sigismund  Batre,  Prince  of,  22 

(1595)- 

Valois,    Mast   Kinge  of  Fraunce',  brother  to 
(Frangois,  due  d'Alengon  (1554-1584)),  22. 
Van  Cleef,  19,  26  (Van  Cleave,  Cornelius  of 

Antwerp),  27  ('Haunce  of  Antwerpe ')• 
Van  Dyck,  32,  33  (3),  34. 
Velasquez,  34. 

Viglius,  President,  25,  30,  32,  35. 
Vincent  of  Mechlin,  19,  27. 

Wales,  The  Prince  of  (George-Augustus- 
Frederick,  afterwards  George  IV),  34. 

Walsingham,  Sir  Francis,  24. 

Warwick,  Ambrose  Dudley,  Earl  of,  23,  31,  32, 
34,44- 


Warwick,  Anne  Russell  (3rd  wife  of  Ambrose 

Dudley),  Countess  of,  26. 
Wentworth,  Thomas,  ist  Baron,  23. 
Wilfourd,  Sir  James,  24. 
William  of  Hatfield,  15  (statue  of). 
Willoughby,    Peregrine,   ist   Lord  (Peregrine 

Bertie,  nth  Lord  Willoughby  de  Eresby),  23. 
Wilton,  Arthur,  i4th  Baron  Grey  of,  23. 
Winchester,  Stephen  Gardiner,  Bishop  of,  23. 

— ,  William  Pawlet,  Marquess  of,  23. 
Winter,  Sir  William,  24. 
Wolsey,  Cardinal,  23. 
Wyatt,  Sir  Thomas  (the  elder),  24,  39. 

— ,  -    -  (the  younger),  24. 
Wyndham,  Mr.  Thomas,  24,  31,  32,  35,  46. 

Xaverius,  Franciscus,  25. 

York,  Edmond  of  Langley,  Duke  of,  15  (statue 
of). 


WORKS  OF  ART  OTHER  THAN   PORTRAITS 


Adam  and  Eve,  21. 

Adoration  of  the  Shepherds,  33. 

Anchises  and  ^Eneas,  27. 

Aristotle,  16  (relief),  42. 

Babel,  Building  of,  27. 

Bride  of  Constantinople,  26. 

Charity,  27. 

Christ,  27  (various),  28,  42. 

Circumcision,  33. 

Cleopatra,  26. 

Constantine  the  Great,  42. 

Dives  and  Lazarus,  27. 

Evangelists,  The  Four,  27  (2). 

Fortune,  '  The  Ficlenes  of,  27. 

George  III,  proceeding  in  State  to  the  House 
of  Lords,  33. 

Helen,  Rape  of,  19,  27. 

Hercules,  27,  42. 

Joseph  and  his  Brethren,  27,  34. 

Judith  and  Holofernes,  27. 

Juno  and  Jupiter,  27. 

Lords,  House  of,  The  King  (George  III)  pro- 
ceeding in  State  to,  33. 
Lucretia,  19,  26. 

Lumley,  Lord  John  and  his  two  Wives,  Tomb 
of,  17. 


Mars  and  Venus,  42. 

Mary  Magdalene,  26. 

Musician,  A,  33. 

Noah,  27. 

Nun,  A,  33. 

Old  Man,  Head  of,  33. 

Passion  of  Christ,  The,  27. 

Plato,  16  (relief),  42. 

Pompeia,  26. 

Richard    II,    delivering  Writ    to    Ralph,    ist 

Baron  of  Lumley,  21. 
Roche  Abbey,  View  of,  34. 
Roman  Emperors,  16,  41,  42. 
St.  Anthony,  Temptation  of,  27,  34. 
St.  Francis,  28. 
St.  Jerome,  27. 
St.  Paul,  27  (2). 
Saints,  The,  28. 
Shepherds,  Adoration  of,  33. 
Time,  21,  42. 
Turk,  The,  33. 
Venus  and  Adonis,  27. 
Virgin,  The,  27. 
Worthies,  The  Nine,  27,  42. 
Zebedee  and  his  family,  30,  32,  35. 


GAWEN   HAMILTON 
IN  KNOWN   SCOTTISH    PORTRAIT    I' 

* 

BY  HILDA  F.  FINBERG. 

I:>  i.go-1.  during  tl  -  of  Mr.  Lionel  Gust,  the  National  Portrait 

Gallery  became  possessed  of  -ation   piece  containing  portraits  o1 

number  of  artists.     Fortune  utbts  could  arise  as  to  the  identity  of  the 

persons  represented,  as  th  »    had   thoughtfully  written   the  name  eit: 

above  or  below  each  figure.    The  central  and  most  conspicuous  figure  in 
group  is  that  of  Mr.  Matthew  Robinson,  and  it  was  from  a  descendant  of  t 
gentleman  that  the  National  Portrait  Gallery  acquired  the  picture.     The  foil- 
ing '  -'autirs  of  Engla  -id  and  Wales  (vol.  viii.  Kent,  1808)  gi 

,  si  formation  about  Mr.   Robinson,  and  proves  that  t!  in 

the  possession  of  his  family  <1t  the  time  the  note  was  written  : 

'The  Robinsons  eby,  in  Yorkshire,  and  of  Horton,  in  Kent,  . 

Sir  Leonard  r  son  of  Thomas,  of  Rokeby,  was  .  .  .  knigh 

in  1692;  and  His  only  son,  Thomas,  of  West   1 

Yorkshire,  dying  young,  left  <;  son  and  heir,  Matthew,  afterwards,  jure  uxu 
of  Horton  in  Kent.     He  was  a  gentleman  of  a  most  independent  spirit,  and 
very  lively  parts;  though,  from  a  to  business,  he  never 


to  any  great  degree  in  the  active  nffair-  <>t'th<-  world,  but  was  extremely  well 
received  in'society.     He  was  a  mr  posed  of  the  most  ir 

nious  artists  of  his  day,  to  commemorate  v  c  as  a  society,  a  painting 

was  executed,  in  1735,  by  Hamilton,  wlv  nail  whole  figures  of  the 

following  persons,  some  of  which  are  here:  Rysbrach,  the 

Statuary;  Dahl,  the  Portrait  Painh  idscape  Painter;  Veti 

and  Baron,  the  Engravers  ;  Kent,  the  Improver  of  Grounds  ;  Gibbs,  and  Thomas. 
the  Architects;    Goupy,   Bridgman,   Huyssing,   Hamilton,  and  M1.   Robin 
himself,  whose  family  are  still  in  possession  ot  this  picture.    Mr.  R.  v  ,-ernely 

fond  of  company,  which  induced  him  to  spend  the  latter  part  of  his  life  in  Lond 
where  his  morning  drive,  and  his  evening  club,  conducted  his  days  serenely  to 
the  age  of  eighty-four,  at  which  point  he  died  in  1778.'  (p.  1127.) 

>v 

Mr.  Robinson  holds  a  port-crayon  in  his  right  liand,  whilst  with  his  left  he 
po  o  drawing  held  by  Dahl.     We  ifer  from  this  that  it 

:ie  is  known  to  have  been  an  accom; 
H  2 


GAWEN   HAMILTON 

AN  UNKNOWN   SCOTTISH    PORTRAIT   PAINTER 
BY  HILDA  F.  FINBERG. 

IN  1904,  during  the  directorship  of  Mr.  Lionel  Cust,  the  National  Portrait 
Gallery  became  possessed  of  a  conversation  piece  containing  portraits  of  a 
number  of  artists.  Fortunately  no  doubts  could  arise  as  to  the  identity  of  the 
persons  represented,  as  the  artist  had  thoughtfully  written  the  name  either 
above  or  below  each  figure.  The  central  and  most  conspicuous  figure  in  the 
group  is  that  of  Mr.  Matthew  Robinson,  and  it  was  from  a  descendant  of  this 
gentleman  that  the  National  Portrait  Gallery  acquired  the  picture.  The  follow- 
ing note  in  Brayley's  Beauties  of  England  and  Wales  (vol.  viii,  Kent,  1808)  gives 
us  some  information  about  Mr.  Robinson,  and  proves  that  the  picture  was  in 
the  possession  of  his  family  at  the  time  the  note  was  written  : 

'The  Robinsons  of  Rokeby,  in  Yorkshire,  and  of  Horton,  in  Kent,  .  .  . 
Sir  Leonard  Robinson,  younger  son  of  Thomas,  of  Rokeby,  was  .  .  .  knighted 
in  1692;  and  he  died  in  1696.  His  only  son,  Thomas,  of  West  Layton,  in 
Yorkshire,  dying  young,  left  a  son  and  heir,  Matthew,  afterwards,  jure  uxoris, 
of  Horton  in  Kent.  He  was  a  gentleman  of  a  most  independent  spirit,  and 
very  lively  parts ;  though,  from  a  disinclination  to  business,  he  never  engaged 
to  any  great  degree  in  the  active  affairs  of  the  world,  but  was  extremely  well 
received  in  society.  He  was  a  member  of  a  club  composed  of  the  most  inge- 
nious artists  of  his  day,  to  commemorate  whose  existence  as  a  society,  a  painting 
was  executed,  in  1735,  by  Hamilton,  which  contains  small  whole  figures  of  the 
following  persons,  some  of  which  are  said  not  to  exist  elsewhere  :  Rysbrach,  the 
Statuary ;  Dahl,  the  Portrait  Painter ;  Wootton,  the  Landscape  Painter ;  Vertue, 
and  Baron,  the  Engravers ;  Kent,  the  Improver  of  Grounds  ;  Gibbs,  and  Thomas, 
the  Architects ;  Goupy,  Bridgman,  Huyssing,  Hamilton,  and  Mr.  Robinson 
himself,  whose  family  are  still  in  possession  of  this  picture.  Mr.  R.  was  extremely 
fond  of  company,  which  induced  him  to  spend  the  latter  part  of  his  life  in  London, 
where  his  morning  drive,  and  his  evening  club,  conducted  his  days  serenely  to 
the  age  of  eighty-four,  at  which  point  he  died  in  1778.'  (p.  1127.) 

Mr.  Robinson  holds  a  port-crayon  in  his  right  hand,  whilst  with  his  left  he 
points  to  a  landscape  drawing  held  by  Dahl.  We  may  infer  from  this  that  it 
is  Robinson's  own  drawing,  as  he  is  known  to  have  been  an  accomplished 

H  2 


52  GAWEN   HAMILTON 

landscape  painter.1     He  was  the  father  of  the  famous  Elizabeth  Montagu,  and 
several  others  of  his  children  distinguished  themselves  in  the  literary  world. 

The  figures  are  grouped  round  Mr.  Matthew  Robinson  in  the  following 
order,  beginning  on  the  left : 

1.  George  Vertue. 

2.  Hans  Huyssing,  a  Swedish  portrait-painter. 

3.  Michael  Dahl  (seated,  holding  the  drawing  in  his  left  hand). 

4.  William  Thomas,  an  architect.2 

5.  James  Gibbs,  architect  of  the  Radcliffe  Library,  Oxford,  and  of  the  Quad- 

rangle of  St.  Bartholomew's  Hospital. 

6.  Joseph    Goupy    (immediately    above    Mr.    Robinson — the    name    written 

'J.  Gouppy'). 

7.  Charles  Bridgman  (or  Bridgeman),  who  laid  out  the  Serpentine  and  Ken- 

sington Gardens  (inscribed  '  Bridgman,  Gar.'). 

8.  Bernard  Baron,  a  French   engraver  resident   in   London.     (The   original 

lettering,  '  Barren ',  can  still  be  made  out,  but  a  restorer  has  tried  to  alter 
the  name  to  '  Barret '.) 

9.  John  Wootton.     (The  original  lettering  was  '  Wooton  ',  but  the  restorer  has 

tried  to  alter  it  to  '  Woollet '.) 

10.  John  Michael  Rysbrack,  the  sculptor  (lettered  '  Rysbrac.  St.'). 

11.  The  Painter  of  the  picture.     (No  lettering.) 

12.  William  Kent,  architect  of  the  Horse-Guards  and  Treasury  buildings,  land- 

scape gardener,  &c. 

Beyond  the  statement  in  the  Beauties  of  England  and  Wales  that  the  painting 
'was  executed  in  1735,  by  Hamilton  ',  nothing  was  known  of  the  painter  of  this 
work.  The  painting,  however,  shows  signs  of  marked  ability.  The  heads  have 
a  great  deal  of  character  and  individuality,  and  the  hands,  costumes  and  acces- 
sories are  deftly  touched,  and  worked  up  with  unusual  care  and  diligence.  Some 
want  of  experience  is  noticeable  in  the  arrangement  of  the  figures — those  of 
Vertue,  Goupy,  and  perhaps  that  of  the  artist  himself,  look  like  afterthoughts — 
as  indeed  they  were — and  the  perspective  is  not  beyond  reproach.  All  these 
signs  taken  together  lead  one  to  suppose  that  the  painter  was  a  man  of  no 
mean  skill,  probably  near  the  beginning  of  his  career,  and  anxious  in  this  work 
to  display  his  powers  and  gain  applause  by  his  exertions. 

If  the  picture  was  painted   in   1735  one  would  naturally  expect  to  find 

1  The  Letters  of  Mrs.  Elizabeth  Montagu,  published  by  her  nephew,  Matthew  Montagu,  Esq.,  M.P., 
1810,  p.  4. 

2  Vertue  writing  in  1732  (Add.  MS.  23076,  f.  36)  mentions  a  William  Thomas  as  'steward  to  the 
Erl  of  Oxford ',  whose  head  was  modelled  by  Rysbrack.    There  was  also  a  William  Thomas,  Archi- 
tect (fl.  1780-1799),  of  whom  Redgrave  says  :  '  He  was  a  member  of  the  celebrated  Artists'  Club,'  no 
doubt  confusing  him  with  the  earlier  man. 


PLATE  XVII 


iiM  OTii 

:          n1"-/    "-      "'*  V   ' —   >  J    y    "  T  '   ' 

'  7  -<--   -- 


/*.'/- K^te^- 


PART  OF  VERTUE'S  NOTE  ON  HAMILTON'S  GROUP  OF  ARTISTS 

(Enlarged from  Folio  43,  B.  M.  Add.  MSS.  23076) 


GAWEN   HAMILTON  53 

something  about  the  painter  in  Walpole,  yet  Hamilton's  name  is  only  once 
mentioned  in  the  Anecdotes,  and  no  information  whatever  is  given  about  him. 
What  makes  this  omission  still  more  curious  is  that  among  the  Vertue  MSS., 
Irom  which  Walpole  compiled  his  Anecdotes  of  Painting,  a  good  deal  of  informa- 
tion is  given  about  this  artist  and  about  the  picture  itself.  Vertue  knew  Hamilton 
well,  took  a  great  interest  in  his  career,  and  admired  his  talents.  One  can  only 
speculate  as  to  the  reasons  which  prompted  Walpole  to  ignore  the  painter.  We 
do  not  know  whether  it  was  because  Vertue  considered  Hamilton  a  serious  rival 
to  Hogarth,  and  frequently  praised  him  at  Hogarth's  expense.  All  we  know 
is  that  Walpole  was  an  enthusiastic  admirer  of  Hogarth,  while  Vertue,  though 
forced  sometimes  to  admit  the  cleverness  of  his  work,  disliked  Hogarth 
intensely,  being,  if  the  truth  were  known,  not  a  little  jealous  of  his  success  as 
an  engraver. 

Vertue's  note  about  the  portrait-group  now  in  the  National  Portrait  Gallery 
was  written  in  1734  or  the  early  part  of  1735,  the  last  sentence  about  the  result 
of  the  raffle  being  added  after  the  raffle  had  taken  place.  It  runs  : 

'  Mr.  Gawen  Hamilton  of  the  West  of  Scotland  near  Hamilton  his  paintings 
of  Conversations  small  figures  are  agreable  &  much  variety  &  correctness  of 
mode  &  manner  of  the  time  &  habits,  he  may  well  be  esteemd  a  rival  to 
Hogarth,  having  as  much  justness,  if  not  so  much  fire,  at  least  a  small  family 
peice  of  Mr  Wootons  [painter]  Family,  particularly  the  figure  of  Mr  Wooton.  is 
like,  and  is  equal  to  any  I  have  seen  of  Hogarth,  and  all  the  rest  not  inferior, 
in  many  respects. 

'But  the  peice  of  a  Conversation  of  Virtuosi  that  usually  meet  at  the  Kings 
Armes.  new  bond  street  a  noted  tavern,  is  truely  a  Master  peice  as  far  as  is  done, 
truely  shews  him  a  Master  of  Art.  the  persons  their  represented,  are  ten. 

Mr  Dahl  Mr  Wm  Thomas  Mr  Gibbs 

Mr  Hysing  Mr  Bridgman.  Gardner  Mr  Baron  Engravr 

Mr  Wooton  Mr  Rysbrake  Statuary  Mr  Robinson  a  Gent. 

Mr  Kent  Vertue  Jos.  Goupy. 

and.  G:  Hamilton  pictor.  f.  1735.' 

Here  Vertue  has  made  a  slight  sketch  forming  a  key  to  the  picture.  (See 
Plate  xvii.)  The  numbers  correspond  with  those  of  the  list  of  names  underneath 
the  sketch.  He  continues  : 

• 

'the  proposition  of  this  peece  was  to  promote  the  Interest  of  Mr  Hamilton 
and  to  be  done  by  Subscription  4  guineas  each  person  to  pay  him.  and  when 
the  picture  is  quite  done  to  be  raffeld  for.  'twas  raffled  for  on  15  April  1735. 
and  won  by  Mr  Joseph  Goupee— 40.  hieghest  Numbr  thrown. 

and  sd  since  sold  by  him  the  Prince  of  Wales.' 

(B.M.  Add.  MS.  23076,  f.  43.) 


54  GAWEN   HAMILTON 

It  is  doubtful  whether  the  rumour  Vertue  mentions,  that  Goupy  sold  the 
picture  to  his  patron,  Frederick,  Prince  of  Wales,  was  correct.  According  to 
Walpole,  the  picture  was  included  in  the  sale  of  Goupy's  collection  in  March, 
1765.  Among  the  pictures  in  the  sale,  says  Walpole,  'there  was  a  piece  in  oil 
by  Hamilton  with  portraits  of  several  artists '.  If  we  are  correct  in  assuming 
this  piece  to  be  the  picture  in  which  we  are  now  interested,  it  is  highly  probable 
that  it  was  bought  at  that  sale  by  Mr.  Matthew  Robinson.  It  may  be  remarked, 
in  passing,  that,  contrary  to  the  general  belief,  Joseph  Goupy's  sale  was  held 
during  his  lifetime,  and  not  after  his  death.  Walpole,  of  course,  is  hopelessly 
wrong  over  the  date  of  Goupy's  death,  having  confused  him  with  his  uncle 
Louis  or  Lewis.  It  will  be  seen  from  Vertue's  note  that  his  own  figure  and 
that  of  Goupy  were  actually  added  to  the  group,  not  being  included  in  the 
original  scheme  of  ten  figures.  Lastly,  Hamilton  added  his  own  portrait,  but 
forbore  modestly  to  put  his  name  to  it. 

Vertue's  first  reference  to  Hamilton  was  written  about  June,  1732.  Vertue 
himself  was  a  little  man,  and  he  observes  that  '  the  most  elevated  men  in  Art 
here  now  are  the  lowest  of  Stature  '  and  proceeds,  in  support  of  this  opinion,  to 
give  a  list  of  names  among  which  occur '  Mr  Hogarth  Painter '  and  '  Mr  Hamilton 
Painter '.  He  adds  :  '  these  Gent,  are  five  foot  men  or  Less.'  He  then 
goes  on  to  speak  of  '  a  family  peice  of  the  present  Earl  of  Strafford  himself  his 
Lady,  his  son  and  daughters  in  the  Conversation  manner,  the  dispo(si)tion 
genteel  &  agreeable— the  Countenances  like  &  freely  pencilld,  draperys  Silks. 
&  decorations,  well  toucht  &  disposd.  upon  the  whole,  this  is  esteemd  a  master 
peace  of  Mr  Hamiltons  painting,  who  (?  as)  much  like  Hogarths  works  as  can 
be.  &  this  he  did  for  Reputation  being  the  Earls  great  generosity  to  give  him  ten 
guineas  only  for  it.'  (Id.  f.  38.) l 

The  Earl  of  Strafford  here  referred  to  was  Thomas  Wentworth,  the  third 
Earl  (or  rather,  the  first  Earl  of  the  second  creation),  who  died  in  1739.  He 
married,  in  1711,  Anne,  daughter  of  Sir  Henry  Johnson,  by  whom  he  had  one 
son  and  three  daughters,  Anne,  Lucy,  and  Harriet,  who  all  appear  in  the  group. 
William,  the  youngest  of  the  children,  born  in  1722,  succeeded,  on  his  father's 
death,  to  the  title,  and  two  years  later  he  married  Lady  Anne  Campbell,  daughter 
of  the  second  Duke  of  Argyll.  The  picture  now  belongs  to  Captain  Bruce 
Vernon- Wentworth.  Mr.  R.  W.  Goulding  has  kindly  informed  me  that  he  saw 
it  at  Wentworth  Castle  in  1911,  and  that  it  is  signed  'G.  Hamilton '. 

Vertue's  last  note  about  Hamilton  was  written  in  1737: 

'The  end  of  October  1737.  dyd  Mr  Gawen  Hamilton  painter  he  excelld  all 
others  (crossed  through)  in  his  Time  in  England  for  peices  of  Conversations — 

Among  the  Strafford  Papers  in  the  British  Museum  are  preserved  many  receipts  for  payments 
made  by  this  Earl  of  Strafford,  but  I  have  searched  them  in  vain  for  Hamilton's  receipt. 


PLATE   XVIII 


THE  REVD.  THOMAS  POCOCK,  BY  GAWEN  HAMILTON 
ENGRAVED  IN  MEZZOTINT  BY  J.  FABER,  JUNR.,  1726 
(From  a  rare  print  belonging  to  Mr.  A.  J.  Fiitbrrg) 


GAWEN   HAMILTON  55 

family  peices — small  figures  from  the  life  in  their  habits  and  dress  of  the 
Times — well  disposd  gracefull  and  natural  easy  actions  suteable  to  the  characters 
of  the  persons  and  their  portraitures  well  toucht  to  the  likenes  and  air,  a  free 
pencill  good  colouring  and  ornamented  or  decorated  in  a  handsom  grand  manner, 
every  way  suteable  to  people  of  distinction  it  was  much  the  opinion  of  many 
Artists  of  painting  and  Sculpture,  that  he  had  some  peculair  excellence  wherein 
he  out  did  Mr  Hogarth  in  Colouring  and  easy  gracefull  likeness,  what  ever  has 
been  done  heretofore  in  England  by  other  former  masters— he  seems  to  have 
more  merit,  or  if  the  modes  of  dress  please  better  now  than  those  formerly, 
wee  can't  say,  and  whether  time  will  take  away  these  (?  the)  pleasure  of  these 
performances  when  the  modes  of  habits  are  changed,  time  will  discover,  however 
wee  still  like  many  of  those  conversations  done  above  a  hundred  years  ago— 
by  Teniers  Brower  Breugil  Watteau  and  some  of  those  flemish  masters  of  the 
Schoolars  of  Rubens  Vandyke,  and  indeed  some  painters  lately  here,  have 
studyed  that  pencilling  touching  manner,  with  great  Succes.  and  freedom  of 
composition,  which  is  likely  to  carry  a  merrit  with  it  of  a  lasting  duration. 

'  Mr  Hamilton  [his  first  begining  was  under  ....  Wilson '  who  painted  fowles 
birds  of  no  great  reputation,  afterwards  was  auctioneer.]  in  his  last  8  or  10  years  of 
his  life  got  great  forwardnes  &  reputation  in  this  manner  for  which  he  was  in 
the  right  to  leave  portrait  painting  as  big  as  the  life,  wherein  he  woud  never 
been  able  to  have  distinghuished  himself  in  that  superior  degree,  he  had  but 
a  short  illness  from  a  Cold  he  being  on  S'  Lukes  night  at  the  Clubb  and  Suppd. 
there,  the  following  week  was  taken  ill.  and  dyd  in  8  days  of  a  Feavour — 
Saturday  28  of  October  1737 — he  was  buried  in  S'  Pauls  church  yard  Covent 
Garden,  near  where  he  liv'd  several  years  before  he  died,  aged  near  forty.' 

(Id.  f.  48.) 

With  the  aid  of  these  notes  it  is  clearly  established  that  Chaloner  Smith 
confused  one  of  Gawen  Hamilton's  works  with  those  of  the  later  and  better- 
known  Gavin  Hamilton.  In  his  British  Mezzotint  Portraits  he  ascribes  that  of 
Thomas  Pocock  (Plate  xvm)  to  Gavin  Hamilton,  who,  according  to  the  informa- 
tion given  in  Mr.  Caw's  Scottish  Painting,  was  born  in  1723.  The  portrait 
of  Pocock  was  engraved  by  J.  Faber,  jun.,  in  1726.  It  cannot  therefore 
be  by  Gavin  Hamilton,  and  if  we  compare  it  with  some  of  the  heads  in  the 
group  of  artists,  there  can  be  little  doubt  that  it  is  by  the  earlier  Gawen. 
Thomas  Pocock  was  the  father  of  Sir  George  Pocock,  the  famous  admiral ;  he 
was  Chaplain  at  Greenwich  Hospital,  and  died  in  1744.  The  name  of  the  artist 
is  given  on  the  print  as  '  Gavs  Hamilton ',  obviously  an  abbreviation  of  a 
latinized  form  'Gavinius',  which  might  stand  for  either  'Gavin'  or  'Gawen'. 

'  No  further  information  has  been  found  about  this  artist. 


56  GAWEN   HAMILTON 

The  two  names  must  be  closely  allied,  and  '  Gavin '  at  least  is  quite  common  in 
Scotland. 

Another  instance  of  confusion  between  the  two  painters  is  to  be  found  in 
the  case  of  a  portrait  of  Susannah,  Countess  of  Eglinton,  lent  to  the  National 
Portrait  Exhibition,  1867,  by  the  Reverend  W.  K.  R.  Bedford.  It  was  exhibited 
as  by  Gavin  Hamilton,  but  as  the  Countess  was  born  in  1689  an^  this  portrait 
shows  her  as  a  woman  of  about  thirty,  it  is  probably  by  Gawen.  The  picture 
is  not  a  good  one,  if  one  may  judge  by  an  imperfect  photograph,  and  the  style 
is  not  in  the  least  like  that  of  Gavin  Hamilton.  The  same  point  may  be 
raised  in  connexion  with  a  second  portrait  of  the  Countess  which  is  at  Eglinton 
Castle.  This  is  included  by  Mr.  Caw1  among  the  works  of  Gavin  Hamilton 
painted  about  1755,  at  which  time  the  Countess  would  have  been  sixty -six  years 
old.  It  depicts  her,  however,  as  a  charming  young  lady  in  peeress's  robes,  and 
was  probably  painted  before  the  death  of  her  husband  in  1729.  It  is  reproduced 
in  Scottish  Portraits,  1902-3  (LXVI). 

Sdguier,  in  his  Dictionary  of  Painters,  seems  to  have  fallen  into  the  same 
trap.  Writing  of  Gavin  Hamilton,  he  says  :  '  Independently  of  his  large  works 
and  his  classical  pictures,  Gavin  Hamilton  sometimes  painted  cabinet  pictures ; 
for  instance,  interiors  of  rooms,  with  small  portraits,  in  the  manner  of  Hogarth. 
Although  brown  and  sombre  in  colour,  yet  there  is  a  great  deal  of  humour  and 
character  in  the  heads.'  It  is  evident  that  Seguier  had  seen  some  conversation 
pieces  by  '  Hamilton  '.  The  colour  of  our  group  of  artists,  however,  could 
hardly  be  called  '  brown  and  sombre '. 

Before  leaving  the  subject  of  Hamilton's  works,  reference  must  be  made  to 
a  painting  attributed  to  Hogarth,  now  in  the  Ashmolean  Museum,  Oxford, 
which  is  apparently  related  to  the  National  Portrait  Gallery  picture.  It  is 
described  in  J.  B.  Nichols's  A  necdotes  of  Hogarth,  1839,  as  '  Portraits  of  a  Society 
of  Artists  that  existed  about  1730.  This  sketch  in  oil  was  in  the  possession  of 

the  late  firm  of  Boydell  &  Company  and is  now  in  the  possession  of 

Chambers  Hall  Esq.  of  Southampton.'  It  was  bequeathed  by  Chambers  Hall 
to  the  University  in  1855,  and  is  reproduced  in  the  illustrated  Catalogue  of  His- 
torical Portraits,  Oxford,  1906.  The  attribution  to  Hogarth,  however,  is  open 
to  question.  Nichols's  Anecdotes  have  no  critical  authority,  and  his  mention  of 
this  picture  merely  proves  that  it  was  attributed  by  its  owner  in  1839  to 
Hogarth. 

The  group  is  composed  of  fifteen  figures,  eight  of  which  can  be  identified 
by  numbers  corresponding  with  a  list  of  names  inscribed  on  the  picture.  Five 
of  the  eight — Rysbrack,  Kent,  Hamilton,  Dahl,  and  Bridgman — arc  old  friends. 
A  sixth  figure  is  named  '  Gibbons  ',  but  as  Mrs.  Poole  has  pointed  out  (Oxford 

1  Scottish  Painting,  Past  and  Present,  1908,  p.  37. 


GAWEN   HAMILTON  57 

Portraits,  1912)  no  artist  of  this  name  is  known  who  was  living  in  1730.  It 
seems  more  than  likely  that  the  name  was  originally  '  Gibbs ',  and  that  it  has 
been  altered  during  a  process  of  repainting  such  as  that  undergone  by  the  names 
on  the  National  Portrait  Gallery  picture.  The  two  other  names  are  '  Laroon ' 
and  '  Vanderbank  ',  whilst  the  remaining  seven  figures  are  anonymous.  One  of 
them,  however,  is  evidently  an  important  person.  He  sits  in  a  chair  in  the 
foreground  of  the  picture  in  very  much  the  same  position  as  that  occupied  by 
Mr.  Robinson  in  Hamilton's  group.  Indeed  the  whole  scheme  of  the  Oxford 
picture,  although  differing  in  several  details,  is  so  curiously  like  our  'Artists' 
Club  in  1735',  that  one  may  venture  to  suggest  that  it  was  perhaps  Hamilton's 
first  sketch  for  his  picture.  Vertue  frequently  mentions  Captain  Laroon  and 
John  Vanderbank  as  members  of  his  circle,  and  it  may  well  be  that  Hamilton 
originally  intended  them  to  figure  in  the  projected  group,  but  could  not  induce 
them  to  sit. 

In  conclusion,  a  further  quotation  from  Vertue  will  throw  some  light  on  the 
club  frequented  by  Mr.  Robinson  and  his  friends : 

'  as  I  have  for  so  many  years,  made  Observations  on  the  works  of  the  most 
eminent  &  remarkable  Artists  in  their  several  kinds  of  works  in  London,  so 
I  have  spent  no  little  Time  to  be  acquainted  with  them,  in  all  Parts  of  the  Town 
especially,  and  at  many  several  times  &  places,  to  see  their  works.  &  hear  the 
sentiments  of  all  persons — any  wayes  allowed  to  be  judges,  thereby  to  get 
a  better  conception  of  their  real  merrit — as  this  has  been  some  loss  of  time,  also, 
the  costs  or  expences  to  get  into  companys  conversations  Clubbs,  has  been 
a  continual  expence.  not  sparing  the  best  &  most  expensive,  besides  the  Rose 
&  Crown  Clubb — so  many  years  and  also  the  Tiptop  Clubb  of  all,  for  men  of 
the  highest  Character  in  Arts  &  Gentlemen  Lovers  of  Art — calld  the  Clubb  of 
S'  Luke — originally  of  which  was  Sr  Ant.  Vandyke  [the  founder]  Sr  Peter  Lilly 
-Riley  Verrio  Kneller  Dhall.Wren  Closterman — &  the  present  Set  of  Artists. 
&  Lovers,  of  the  best  reputation  living,  now  still  in  highest  esteem— 

'  Yet  for  all  this,  there  are  Some  Capital  Artists,  that  I  have  mist,  and  has 
not  fell  in  my  way — to  be  known  to.  but  few  indeed  between  1710.  to  this  present 
year.  1744.' 

(Add.  MS.  23079,  f.  30.) 

We  may  take  it  then  that  it  was  at  the  '  Tiptop '  Club  of  St.  Luke  that 
Gawen  Hamilton  supped  on  the  night  when  he  caught  his  fatal  cold,  and  that  it 
is  the  members  of  this  club  who  figure  on  his  canvas.  Redgrave  mentions  that 
Charles  Bridgman,  who  'about  1735  was  the  fashionable  designer  of  gardens 

was  a  member  of  the  S'  Luke's  Artists'  Club ',  but  I  do  not  know  the 

source  of  his  information. 

The  Rose  and  Crown  Club  probably  had  its  meetings  at  the  old  Rose  and 

VI.  I 


58  GAWEN   HAMILTON 

Crown  Tavern  in  Crown  Street,  Soho.  Its  members,  the  '  Rosa-Coronians '  as 
Vertue  calls  them,  were  painted  in  1724  by  John  Smibert.  The  group  has  been 
described  and  sketched  by  Vertue  (Add.  23076,  f.  18),  who  figured  in  it  with 
Smibert,  Wootton,  Thomas  Gibson,  and  several  other  painters  and  musicians. 
Although  painted,  no  doubt,  in  a  less  capable  manner,  it  would  make  an  interest- 
ing pendant  to  Gawen  Hamilton's  'Artists'  Club'.  We  will  hope  therefore  that 
it  is  still  in  existence  and  will  some  day  be  traced. 


LIVERPOOL    ART    AND    ARTISTS    IN    THE 
EIGHTEENTH   CENTURY 

BY    E.    RlMBAULT    DlBDIN. 

ONE  does  not  as  a  rule  act  upon  the  cynical  epigrammatic  principle  borrowed 
by  Benjamin  Disraeli  from  an  earlier  writer  to  the  effect  that  the  best  way  to  get 
up  a  subject  of  which  you  are  ignorant  is  to  write  about  it.  An  exception  to  that 
rule  is  presented  by  the  subject  of  early  art  in  Liverpool,  because,  in  confessing 
that  my  knowledge  about  it  is  sadly  inadequate,  I  have  to  add  that  I  don't  know 
of  any  one  who  is  better  informed.  The  bank  of  fog  which  rests  upon  the  whole 
field  of  early  British  art  is  nowhere  more  dense  than  in  this  region.  The 
history  of  Liverpool  has  more  than  once  been  written,  and  its  antiquity  has  been 
consecrated  by  the  sept-centenary  celebrations  held  in  1907,  but  we  still  know 
very  little  about  it  before  the  eighteenth  century,  and  literally  nothing  about  its 
art  history,  although  one  book  was  produced  about  fourteen  years  ago  which 
purported  to  deal  with  the  subject.  I  propose  here,  while  stating  what  I  know, 
to  employ  myself  chiefly  in  indicating  what  I  do  not  know,  in  order  to  show  the 
difficulties  attending  an  attempt  to  master  this  little  corner  of  our  art  history, 
and  with  the  hope  that  fellow  students  in  related  fields  may  possibly  be  able  to 
help  me  to  fill  out  my  sadly  meagre  outline. 

Art-workers  of  some  kind  there  must  have  been  in  Liverpool  in  the  seven- 
teenth century,  in  connexion  with  the  decoration  of  the  potters'  wares  which 
were  then  an  important  product  of  the  town.  Their  skill  in  landscape  was 
apparently  small,  if  we  may  judge  it  on  the  evidence  of  a  plaque  (20  x  31  inches) 
bearing  'A  West  Prospect  of  Great  Crosby'  in  1716,  which,  according  to  that 
careful  and  learned  antiquary,  Joseph  Mayer,  is  the  earliest  known  '  authentic 
piece  of  English  ware '.  He  found  evidence  that  Liverpool  was  a  producing 
centre  of  such  goods  in  1674,  and  its  potteries  were  among  the  first  in  this 
country.  There  were  also  engravers  on  copper.  In  1888,  when  the  first  con- 
ference of  the  National  Association  for  the  Advancement  of  Art  was  held  here, 
I  contributed  to  its  deliberations  a  paper  on  the  Art  History  of  Liverpool,  in 
which  I  suggested  that  the  attention  paid  to  art  in  the  town  was  perhaps  due  in 
a  measure  to  the  influence  of  the  potteries,  and  I  still  think  so.  I  there  set  out 
at  more  length  than  is  necessary  here  some  interesting  details  of  the  history 
of  our  potteries,  and  also  other  scraps  of  information  about  art  happenings  which 
I  had  gleaned  as  the  result  of  an  extended  examination  of  old  newspapers  and 
other  ephemeral  publications. 

I  2 


60  LIVERPOOL  ART  AND  ARTISTS 

I  have  found  nothing  to  show  definitely  that  before  1769  there  was  any 
attempt  at  organization  among  the  artists,  although  there  were  artists  in  the  town, 
or  connected  with  it.  Old  rate-books,  so  far  back  as  1705-8,  give  us  glimpses 
of  such  unknown  men  as  Isaac  Le  Groates  (or  Legrote)  of  Redcross  Street, 
and  Edward  Clifton  of  Rosemary  Lane,  both  described  as  limners.  The  latter, 
according  to  the  register  of  St.  Nicholas's  Church,  was  buried  January  29,  1714. 
The  register  of  St.  Peter's  Church  preserves  the  name  of  John  George,  a  limner, 
whose  wife  Mary  was  buried  May  25,  1757 ;  and  in  that  of  St.  George's  we 
find  mention  of  Thomas  Rothwell,  enamel  painter,  in  connexion  with  the  baptism 
on  January  13,  1761,  of  his  daughter  Lucy,  born  December  14,  1760.  According 
to  an  obituary  notice  in  Billinge's  Liverpool  Advertiser,  February  2, 1807,  Rothwell 
died  at  Birmingham  in  January  1807,  aged  65.  The  birth  of  a  daughter  in  1760 
suggests  that  the  age  was  understated.  He  is  described  as  an  engraver  and 
enamel  painter.  In  St.  Peter's  register  I  have  also  found  the  names  of  two 
engravers,  Jeremiah  Evans  (1760)  and  William  Sutton  (1763).  Of  all  these 
worthies  nothing  is  known.  Two  notable  Liverpool  men  born  early  in  the 
eighteenth  century  may  conveniently  be  referred  to  first,  as  there  is  nothing 
to  show  that  they  had  any  connexion  with  local  artistic  movements. 

i.  RICHARD  WRIGHT,  F.S.  A.,  sometimes  described  as  '  Wright  of  Liverpool ' 
and  sometimes  as  '  Wright  of  the  Isle  of  Man ',  of  whom  I  know  very  little.  He 
is  said  to  have  been  born  in  Liverpool  in  1735,  and  to  have  been  trained  as 
a  house  and  ship  painter.  Without  education  he  succeeded  in  becoming  a  com- 
petent painter  of  pictures.  I  have  not  traced  any  Liverpool  address.  In  1762 
Wright  began  to  exhibit  at  the  'Society  of  Artists'  Exhibition,  his  picture  being 
'  A  View  of  the  Storm  when  the  Queen  was  on  her  passage  to  England,  painted 
from  a  sketch,  drawn  on  board  the  Fubbes  yacht'.  This  is  at  Hampton  Court 
Palace  :  no.  889  in  Ernest  Law's  Historical  Catalogue  (1898).  Wright  continued 
to  exhibit  regularly  at  the  '  Society  of  Artists '  until  1773,  showing  in  all  twenty- 
seven  pictures.  He  became  a  member  in  1771  and  a  director  in  1772. 

According  to  Mr.  Algernon  Graves,  Wright  showed  one  picture  at  the  Free 
Society  Exhibition  in  1764,  'A  Seapiece,  with  a  squall  of  rain'.  Appended  is 
a  note  :  'The  first  premium  (thirty  guineas)  for  the  present  year.'  In  Anecdotes 
of  Painters,  by  Edward  Edwards  (1808),  it  is  stated  that  'in  1764  the  Society  for 
the  Encouragement  of  Arts,  &c.,  offered  a  premium  to  the  person  who  should 
produce  the  best  picture  of  a  sea  view,  being  his  own  production,  when  Mr.  Wright 
became  a  candidate  and  obtained  the  first  prize,  thirty  guineas.  In  the  years 
1766  and  1768  he  again  became  a  candidate,  under  the  same  class  of  premiums, 
and  each  year  obtained  the  first  prize,  fifty  guineas.  In  the  first  of  these  pictures, 
Mr.  Wright  paid  a  compliment  to  the  Society  by  introducing  an  allusion  to  their 
encouragement  of  the  scheme  for  supplying  the  metropolis  with  fish,  by  the 
means  of  land  carriage '.  In  a  note  Edwards  identifies  this  picture  as  the  one 


IN  THE  EIGHTEENTH   CENTURY  61 

engraved  by  William  Woollett  (1768)  with  the  title  '  The  Fishery '  (Plate  xxiv  (b)). 
It  is  now  in  the  Liverpool  Gallery,  my  Committee  having  on  my  recommenda- 
tion purchased  it  in  1914  from  the  owner.  It  will  be  seen  from  the  illustration 
that  the  allusion  to  land-carriage  was  a  covered  cart  in  waiting  to  receive  fish 
from  boats.  Woollett's  print  is  said  to  have  been  copied  in  two  sizes  by  a  French 
engraver,  who  attributed  the  original  to  Vernet.  I  have  not  seen  a  copy  of  this 
pirated  publication. 

Some  time  before  his  death,  according  to  Edwards,  Wright  made  an  exhi- 
bition of  his  pictures  at  York  during  the  race  week.  The  result  was  disappointing, 
so  much  so  that  according  to  our  chronicler,  with  the  aid  of  a  violent  cold,  it 
'  hurried  him  to  his  grave '.  He  adds  that  he  was  also  adversely  affected  by  the 
death  of  his  son,  'a  very  promising  and  well-behaved  youth,  who  painted  in  the 
same  line  with  the  father'.  This  youth  was  aged  about  twenty.  Mrs.  Wright 
and  her  daughters  also  practised  art,  painting  still-life  and  fruit-pieces.  It  is 
a  pretty  safe  inference  that  the  son  was  Edward  Wright,  who  showed  nine 
pictures  at  the  Society  of  Artists  from  1769  to  1773.  Mr.  Graves,  from  whom 
I  cull  this  information,  credits  him  with  a  marine  subject  shown  at  the  Free 
Society  in  1782,  but  this  is  probably  a  wrong  ascription  (it  is  a  rare  pleasure 
to  catch  Mr.  Graves  napping)  if  the  son,  as  stated,  predeceased  his  father, 
who  died,  according  to  Bryan,  'about  1775':  Edwards  says  'before  1775'. 
E.  Wright's  address  was  'at  Mr.  Wright's,  Pimlico',  and  Richard's  address 
from  1767  was  'Near  King's  Road,  Pimlico'.  Before  that  he  was  at  Craven 
Street  (1763),  Craven  Buildings,  Strand  (1764),  and  Orange  Court,  Leicester 
Fields  (1765). 

Mrs.  Richard  Wright  (Louisa)  exhibited  still-life  (thirteen  pictures)  at  the 
Society  of  Artists  from  1770  to  1777.  After  her  husband's  death  she  removed 
to  29  Marsham  Street,  Westminster.  Miss  Elizabeth  Wright  began  to  exhibit 
in  1773  and  continued  to  do  so  until  1776,  showing  seven  landscapes  in  all.  On 
the  removal  of  her  mother  from  the  Pimlico  house,  Elizabeth  and  she  seem  to 
have  parted  company,  as  in  1775  the  former  was  'at  Mr.  Stubbs',  24  Somerset 
Street,  Portman  Square'.  Next  year  she  was  at  Mr.  Ralph's,  Millman  Row, 
Chelsea.  It  is  of  interest  in  the  present  connexion  to  find  the  Wright  family  in 
touch  with  the  famous  George  Stubbs,  President  of  the  Society  of  Artists,  as  he 
also  was  of  Liverpool  origin.  Mr.  Graves  attributes  to  Elizabeth  an  exhibit  in 
1783,  'A  Head;  in  needlework',  shown  by  'Miss  E.  Wright,  at  Mr.  Thomas 
Wright's,  6,  in  the  Poultry ',  but  I  am  pretty  sure  this  was  a  different  person. 
On  the  other  hand  I  think  a  Miss  Wright,  '  Near  the  King's  Road,  Pimlico ', 
who  exhibited  a  landscape  in  1772  and  a  fruit-piece  in  1773,  must  have  been 
Elizabeth,  though  Mr.  Graves  gives  her  a  place  apart ;  if  not,  it  was  an  elder 
sister. 

Among  the  many  Wrights  who  have  shown  at  the  Royal  Academy  Exhibi- 


62  LIVERPOOL  ART  AND  ARTISTS 

tion,  the  only  one  who  seems  to  have  any  possible  connexion  with  our  subject  is 
Miss  Elizabeth  Wright,  who  showed  two  landscapes  in  1825,  when  her  address 
was  6  Norfolk  Street,  Fitzroy  Square.  In  1829  a  Miss  Wright  (Mrs.  in  the 
index)  at  the  same  address  contributed  a  landscape,  and  in  the  following  year 
another.  Her  address  was  then  38  London  Street.  I  think  this  was  possibly 
Richard's  daughter,  though  I  am  not  able  to  account  for  her  long  disappearance. 
Richard  never  exhibited  at  the  Royal  Academy. 

-  I  have  devoted  a  good  deal  of  space  to  somewhat  trivial  detail  because  it  is 
from  such  slight  indications  that  we  may  be  able,  if  at  all,  to  construct  a  fuller 
account  of  this  artist's  life.  There  only  remains  to  be  added  the  concluding 
paragraph  of  Edwards's  note,  an  outline  as  slight  and  unsatisfying  as  Hogarth's 
profile  of  Fielding,  and  yet,  like  it,  a  valuable  clue  to  better  knowledge  of  the 
man  :  'Mr.  Wright  was  of  rough  manners  and  warm  temper,  which  led  him  to 
take  an  active  lead  among  the  discontented  part  of  the  chartered  Society  of 
Artists,  in  which  he  acted  with  great  impropriety  and  imprudence,  and,  with 
one  or  two  more  of  the  members,  was  chiefly  instrumental  in  overturning  the 
Society.' 

2.  GEORGE  STUBBS.  This  pioneer  of  animal  painting  in  England  (if  we 
except  John  Wootton)  was  born  in  Liverpool  on  August  24,  1724,  a  little  more 
than  a  year  after  the  birth  of  Reynolds.  It  will  suffice  to  give  a  mere  outline  of 
his  career,  as  the  subject  has  been  already  dealt  with  by  Joseph  Mayer  (who 
based  his  Notes  for  a  Memoir  on  a  manuscript  by  William  Upcott),  also  by  the 
late  Sir  Walter  Gilbey,  Bart,  in  a  'Life'  published  in  1898.  I  refer  also  to  my 
own  contributions  on  the  subject  to  Bryan's  Dictionary  (vol.  v,  p.  139,  1905)  and 
to  the  Art  Journal  for  1904,  p.  12  et  seq.  The  father  of  Stubbs  was  a  currier  and 
leather-dresser,  and  he  intended  that  his  son  should  follow  in  his  footsteps.  The 
youth,  however,  was  interested  only  in  drawing  and  anatomy,  and  his  father 
did  not  oppose  him,  but  advised  him  to  seek  out  the  best  master  he  could  find. 
Soon  after  this  the  father  died,  leaving  his  widow  in  easy  circumstances. 

George  selected  as  a  master  Hamlet  Winstanley,  a  Warrington  artist  twenty- 
four  years  older  than  himself,  a  pupil  of  Kneller,  but,  on  the  evidence  of  such  of 
his  productions  as  I  have  seen,  not  a  very  brilliant  painter.  Winstanley  was 
much  employed  about  Knowsley  Hall,  the  seat  of  the  Earl  of  Derby,  and  Stubbs 
was  set  to  work  making  copies,  receiving  in  exchange  instruction  and  a  shilling 
a  day  pocket-money.  A  quarrel  terminated  this  connexion,  which  had  given 
Stubbs  so  strong  a  distaste  for  copying  pictures  that  he  resolved  never  again  to 
do  anything  of  the  sort,  but  to  '  look  into  Nature  for  himself,  and  consult  and 
study  her  only '. 

At  about  twenty  years  of  age  Stubbs  removed  to  Wigan  and  thence  to  Leeds, 
where  he  set  up  as  portrait-painter.  Next  he  went  to  York,  where  he  found 
means  to  study  anatomy,  and  did  so  to  such  purpose  that  soon  he  was  employed 


IN  THE   EIGHTEENTH   CENTURY  63 

in  giving  private  lectures  to  the  hospital  students.    Having  made  some  drawings 
to  illustrate  a  projected  work  on  obstetrics  by  a  friend,  Stubbs  was  unable  to 
get  an  engraver  to  reproduce  them,  so  he  taught  himself  to  engrave  on  copper. 
From  York  he  went  to  Hull,  and  in  1754,  after  a  visit  to  Liverpool,  he  went  to  Italy 
to  see  if  its  art  treasures  would  support  his  opinion  that  Nature  is  superior  to 
all  Art.    Having  settled  this  point  to  his  entire  satisfaction  he  returned  home  and 
remained  at  his  mother's  house  until  her  death  about  the  year  1756.     He  then  left 
his  native  city  and  apparently  never  returned  to  it.     The  fact  that  his  illegitimate 
son,  George  Townley  Stubbs,  an -excellent  engraver,  was  born  in  1756  suggests 
a  possible  reason,  in  connexion  with  the  close  companionship  for  life  that  thence- 
forward subsisted  between  Stubbs  and  Miss  Mary  Spencer,  who  is  sometimes 
described  as  his  niece  and  sometimes  as  his  aunt.     I  have  no  evidence  that  she 
was  related  to  him.     The  register  of  St.  Peter's  Church  records  that  Mary, 
daughter  of  George  Stubbs,  limner,  was  buried  on  September  18,  1759.     I  am 
unable  to  throw  any  light  on  her  identity.     For  four  years  Stubbs  dwelt  in  a 
lonely  farm-house  in  Lincolnshire,  where  he  laboured  unceasingly  at  the  anato- 
mical studies  which  resulted  in  his  monumental  work  on  the  Anatomy  of  the 
Horse.    When  Stubbs  arrived  in  London  in  1760  ready  for  its  publication,  he 
was  unable  to  find  an  engraver  who  would  undertake  the  mechanical  part  of 
reproducing  his  drawings,  so  he  undauntedly  set  to  work  and  engraved  the 
plates  in  his  late  evening  and  early  morning  hours.    The  work  was  published  in 
1766,  and  its  value  was  at  once  recognized.     From  1761  Stubbs  had  been  an 
exhibitor,  chiefly  of  portraits  of  horses,  at  the  Society  of  Artists  Exhibition.    Of 
this  society  he  was  a  member  in  1765,  treasurer  in  1772,  president  in  1773,  and 
director  in  1774.     Although  much  admired  by,  and  friendly  with,  Reynolds,  he 
was  not  one  of  those  who  combined  to  form  the  Royal  Academy.     After  the 
1774  exhibition  of  the  Society  of  Artists  he  ceased  to  send  to  its  exhibitions,  and 
he  made  his  first  appearance  at  the  Royal  Academy  in  the  following  year  with 
four  portraits— of  a  horse,  two  dogs,  and  a  monkey.    Thereafter  he  was  a  fairly 
regular  exhibitor  until  1803.    In  1780  he  was  elected  A.R.A.  and  in  the  following 
year  a  full  member,  but  some  hitch  occurred  (probably  over  the  rule  as  to  the 
deposit  of  a  diploma  picture)  and  the  election  was  annulled.     The  addresses  of 
Stubbs  in  various  catalogues  are  (i)  Somerset  Street,  opposite  North  Audley 
Street,  1764;  and  (2)  24  Somerset  Street,  Portman  Square,  1775.     For  many 
years  Stubbs  pursued  his  energetic  career  with  ample  success,  and  his  active 
mind  continually  prompted  him  to  fresh  experiments.     At  the  instigation  of 
Cosway  he  experimented  in  the  production  of  pictures  painted  in  enamel  colours 
on  china  or  earthenware  plates  made  by  Wedgwood.     Some  of  these  were  so 
badly  treated  in  the  Royal  Academy  Exhibition  of  1782  that  he  did  not  send 
again  until  1786,  and  this  may  have  been  one  of  the  factors  in  the  trouble  about 
his  membership.     Some  of  these  plaques  are  extant,  their  colour  as  brilliant  as 


64  LIVERPOOL  ART  AND  ARTISTS 

at  first,  and  it  is  easy  to  understand  that  the  hangers  of  1782  offended,  not 
through  prejudice  or  ill  will,  but  because  this  brilliancy  made  it  difficult  to  place 
them  with  oil  paintings  on  canvas.  In  1790  Stubbs  commenced  a  series  of 
portraits  of  celebrated  racers  which  were  to  be  engraved  and  published.  Through 
lack  of  support  this  series  was  discontinued  after  sixteen  had  been  produced. 
When  over  seventy  years  of  age  Stubbs  commenced  another  great  work, 
A  Comparative  Anatomical  Exposition  of  the  Human  Body,  with  that  of  a  Tiger 
and  a  common  Fowl.  This  he  completed,  but  he  died  on  July  10,  1806,  when 
only  half  of  it  had  been  published.  His  death  was  sudden,  probably  from 
angina  pectoris  :  on  the  previous  day  he  had  walked  eight  or  nine  miles  without 
fatigue;  and  shortly  before,  he  was  able  to  walk  sixteen  miles,  carrying  a 
portmanteau. 

In  his  prime  Stubbs  enjoyed  great  physical  strength,  and  was  able  to  carry 
a  dead  horse  up  two  or  three  flights  of  stairs  to  his  dissecting-room  !  He  was 
buried  in  Marylebone  Church,  and  Miss  Spencer  inherited  all  his  property. 
Many  of  his  works  were  engraved  by  Woollett,  Earlom,  Val  Green,  Hodges, 
Murphy,  Townley-Stubbs,  &c.  His  '  Gentleman  holding  a  Horse '  is  in  the 
National  Gallery,  his  '  Lion  and  Lioness'  and  'Goose  with  outstretched  wings' 
are  in  the  Victoria  and  Albert  Museum,  and  in  the  Liverpool  Gallery  are  '  The 
Racehorses  of  King  George  III ',  '  Horse  and  Lioness',  'Horse  frightened  by 
a  Lion',  'Lion  and  Dead  Tiger'  (on  Wedgwood  panel),  and  'The  Frightened 
Horse'  (Wedgwood  white  relief  on  blue);  also  portraits  by  Ozias  Humphry, 
R.A.  (pastel)  and  Richard  Caddick  (oil).  The  pictures  of  Stubbs  are  not  often 
seen,  as  they  are  for  the  most  part  in  private  collections  at  great  houses. 
Sir  Walter  Gilbey  had  a  great  many  :  the  catalogue  of  his  sale  on  June  n, 
1915,  contained  twenty-seven  examples.  Some  of  these  are  among  our  illus- 
trations.1 Gilbey's  book  on  Stubbs  gives  particulars  of  116  pictures  in  various 
collections. 

1  Five  pictures  by  Stubbs  from  the  Gilbey  sale  are  here  illustrated  :  No.  406,  Portrait  of 
Warren  Hastings  on  Horseback,  1791,  from  the  Artist's  Sale  (No.  68),  Plate  xix  ;  No.  394,  Hay- 
makers, and  No.  395,  Hay-Carting,  Plate  xx  ;  No.  387,  The  Haymakers,  and  No.  388,  The  Reapers, 
both  exhibited  at  the  Royal  Academy,  1786,  Plate  xxi.  The  four  latter  subjects  are  reproduced 
from  photographs  kindly  supplied  by  Messrs.  Thomas  Agnew  and  Son.  Two  of  these  are  now 
the  property  of  Lord  Leverhulme,  who  has  also  kindly  allowed  the  reproduction  of  the  equestrian 
portrait  of  Wedgwood. 

I  had  a  good  opportunity  to  study  these  paintings  at  the  time  of  the  sale.  The  two  enamel 
paintings  on  china  tablets  (Plate  xx)  struck  me  as  particularly  delightful  productions.  They  have 
much  of  the  purity  and  freshness  of  early  Italian  wall  paintings.  As  illustrations  of  the  rise  of  the 
modern  naturalistic  school  of  painting,  and  as  superb  examples  of  the  work  of  a  wonderfully  gifted 
and  original  English  artist,  I  should  have  liked  to  see  them  secured  for  our  National  Gallery. 
Why  the  authorities  took  no  steps  to  secure  at  least  one  of  them  I  do  not  know.  The  prices  they 
realized  at  the  sale  were  not  exorbitant. 

The  fine  equestrian  portrait  of  Warren  Hastings  was  promptly  secured  by  Lord  Curzon  for  the 


PLATE  XIX 


WARREN    HASTINGS   ON    HORSEBACK,    BY    GEORGE    STUBBS,    1791 

Oval,  34 !  X  25 \  in.     Enamel  fainting  on  china  tabl.'t 

Bought  fry  Earl  Cureoii  of  Kedlestoii,  at  Sir  Walter  Gilb;)fs  Salt,  for  the  Victoria  Mmiorial  Hall,  Calcutta 


PLATE   XX 


(a)      HAYMAKERS,    BY    GEORGE    STUBBS,    1 794 

Enamel  painting  on  china  tabltl  manufacturtd  by  Wedgwood 
Oval,  a8S  x  39]  in.     {Gilbty  Sale,  No.  394) 
In  the  Collection  of  Lord  Leverlntlme 


(b)      HAY   CARTING,    BY   GEORGE   STUBBS,    1795 
Enamel  painting  OH  china  tablet 
Oval,  28}  x  39 j  in.     (Gilbey  Sale,  No.  395) 
In  the  Collection  of  Lord  Lcverhulme 


PLATE   XXI 


(rt)      THE    HAYMAKERS,    BY    GEORGE    STUBBS,    1783 
On  panel.  36  x  54  in.     ( Gilbey  Sale,  No.  387) 


(b)      THE    REAPERS,    BY    GEORGE    STUBBS,    1783 
Panel,  36  x  54  in.     (Gilbey  Sale,  No.  388) 


PLATE  XXII 


JOSIAH    WEDGWOOD    ON    HORSEBACK,    BY    GEORGE    STUBBS 
Oval,  36  x  27 ',  in.     Enamel  painting  on  china  tablet 
In  the  Collection  of  Lord  Ltveihulmi 


PLATE    XXIII 


w 
I 

In 

O 

U 

u 

J 
0, 

a 

H 


H 
D 

- 


-. 
< 


S 
u 


Id 

~ 


Id 
K 
H 


u 
A 
D 

- 
U 
Id 
-I 


> 
- 


.U 

•5 


O  S 

en  a. 

o  uj 

J  tn 

~  o 


IN  THE   EIGHTEENTH   CENTURY  65 

Having  disposed  of  two  rather  notable  men  who  are  slightly  known  to  the 
outer  world  of  art,  I  now  turn  to  the  group  of  artists  who,  dwelling  in  Liverpool, 
tried  to  establish  an  Art  Society  here,  incited,  no  doubt,  to  this  expression  of 
their  needs  by  the  contagious  influence  of  the  Royal  Academy's  foundation 
in  1768.  In  the  following  year  an  Academy  Room  was  rented  at  30  John 
Street,  and  the  association  which  met  there  had  P.  P.  Burdett  as  president,  and 
twenty-one  other  members.  The  list  of  members  given  by  Mayer  is  the  first 
authentic  list  of  Liverpool  Artists.  I  append  to  the  names  the  scant  particulars 
I  have  in  regard  to  some  of  them. 

i.  PETER  PEREZ  BURDETT,  F.S.A.,  President.  I  take  the  baptismal  names 
from  Graves's  account  of  the  Society  of  Artists.  In  the  list  of  members  (p.  323) 
he  is  described  as  an  Honorary  Fellow.  He  was  a  capable  artist,  as  appears 
from  his  'View  of  the  Custom  House',  engraved  for  Enfield's  Liverpool  (1773). 
Mayer  describes  him  as  an  engraver  and  drawing  master.  W.  Bemrose  in  his 
Life  and  Works  of  Joseph  Wright  (1885)  has  a  number  of  references  to  Burdett, 
who  was  at  one  time  resident  in  Derby  and  intimate  with  Wright.  From  this 
source  I  learn  that  Burdett  played  the  violoncello,  that  he  published  a  map  of 
Derbyshire  in  1767,  and  was  used  as  a  model  in  at  least  two  of  Wright's  pictures, 
viz.  'The  Orrery'  (Plate  xxin),  exhibited  1766,  probably  painted  three  years 
earlier,  in  which  he  is  the  person  making  notes,  and  the  earlier  '  Gladiator ' 
picture  in  which  Burdett  and  Laurence  Rowland  (1757-73),  son  of  Earl  Ferrers, 
are  the  two  boy  spectators.  Earl  Ferrers  bought  'The  Orrery'  and  Burdett  was 
in  some  unexplained  way  mixed  up  in  the  transaction.  The  price  was  ^210,  of 
which  £50  was  paid  in  cash,  and  for  the  balance  a  joint  bond  dated  July  n,  1763, 
was  given  to  Wright  by  the  Earl  and  Burdett.  It  is  quoted  verbatim  by 
Mr.  Bemrose,  and  apparently  the  balance  of  £160  was  to  be  liquidated  by  a 
payment  of  /So  with  interest.  English  law  deeds  of  the  eighteenth  century  are 
beyond  the  comprehension  of  a  layman,  so  I  may  be  mistaken.  Apparently  the 
money  was  to  be  paid  by  Burdett,  because  in  1774  Wright  wrote  from  Rome  to 
his  brother :  '  He  has  not  paid  a  farthing  of  principal  or  interest  of  the  fourscore 
pounds  his  Lordship  was  bound  for,  which  I  lent  him  in  the  year  '60  or  '61.' 
Burdett  is  described  in  the  deed  as  '  Peter  Pery  (sic)  Burdett  of  Stanton  Herald 
in  the  County  of  Leicester,  Gentleman ',  which  seems  to  negative  the  conjecture 
that  he  was  a  native  of  Derby.  He  evidently  devoted  a  good  deal  of  time  to 
chartography,  as  in  addition  to  the  map  of  Derbyshire  already  mentioned  he 
produced  maps  of  Cheshire  and  Lancashire,  and  in  reference  to  the  map  of 
Leicestershire  by  J.  Whyman  in  Gough's  British  Topography  there  is  a  note  to 

Victoria  Memorial  Hall  at  Calcutta.  It  was  an  admirably  chosen  purchase,  made  with  Lord 
Curzon's  usual  promptness  and  decision.  I  have  to  thank  his  Lordship  for  the  courteous  permission 
he  has  given  to  reproduce  this  portrait. — ED. 

VI.  K 


66  LIVERPOOL  ART  AND  ARTISTS 

the  effect  that  '  Whyman  was  assistant  to  Mr.  Burdet  (sic) '.  For  the  Derby- 
shire survey  Burdett  received  ^100  (or  guineas)  in  1768  from  the  Society  of 
Arts.  At  the  Society  of  Artists  Exhibition  in  1770  he  showed  (as  an  honorary 
exhibitor)  two  'teinted'  drawings  of  architectural  subjects  and  in  1771  another 
architectural  view.  In  1772,  being  then  F.S.A.,  he  showed  'An  etching  in 
imitation  of  a  Wash  Drawing',  as  well  as  'An  etching  from  a  design  of 
Mr.  Mortimer'.  The  first  of  these  may,  I  think,  have  been  a  very  early 
aquatint  (the  invention  of  Le  Prince  dates  from  1768)  as  in  1773  Burdett 
exhibited  '  The  effect  of  a  stained  drawing  attempted  by  printing  from  a  plate 
wrought  chemically,  without  the  use  of  any  instrument  of  sculpture  '.  After  this 
Burdett  did  not  exhibit  again  and  I  have  no  further  trace  of  him.  I  shall  refer 
to  him  again  in  connexion  with  his  status  as  an  inventor  of  aquatint  engraving. 
His  'Children,  with  boy  blowing  bladder,  by  candlelight ',  after  Joseph  Wright 
of  Derby,  according  to  a  manuscript  inscription  on  a  copy  in  the  Liver- 
pool Public  Library,  was  the  '  First  specimen  of  aquatinta  invented  in  Liverpool 
by  P.  P.  Burdett,  1774,  assisted  by  Mr.  S.  Chubbard '.  Oddly  enough 
J.  Chaloner  Smith  in  the  appendix  to  his  British  Mezzotint  Portraits  seems  to 
mention  this  as  a  mezzotint,  but  he  describes  a  plate  with  the  subject  reversed, 
so  I  am  in  doubt.  There  is  no  evidence  that  Burdett  was  a  mezzotinter.  Smith 
states  that  Burdett  appears  to  have  been  a  friend  and  fellow  townsman  of 
Wright. 

2.  OTTIWELL  (or  OTWELL)  WORRALL.     Probably  a  professional  artist.     In 
1784  he  exhibited  a  portrait  of  a  child  in  crayon.     I  have  no  other  information 
about  him.    Mr.  Joseph  Worrall,  an  aged  artist  in  Liverpool,  who  died  recently, 
did  not  know  if  he  was  descended  from  him. 

3.  WILLIAM  NEWBY.     No  information. 

4.  MICHAEL  RENWICK.    A  doctor.     In  1773  Lecturer  on  Chemistry  to  'The 
Society  of  Artists '. 

5.  JOSEPH  DURAND.     No  information. 

6.  WILLIAM  EVERARD.    A  leading  founder  and  librarian  (probably  honorary) 
of  the  Liverpool  Library  (the  first  circulating  library  in  England,  founded  1758), 
He  was  a  schoolmaster  in  Paul  Square,  eminent  in  mathematics,  and  after- 
wards an  architect  and  surveyor.     In  1766  he  was  resident  at  30  John  Street, 
where  the  Academy  and  the  Liverpool  Library  were  housed  by  him.     The 
register  of  St.  George's  Church  records  his  marriage  on  April  n,   1760,    to 
Martha  Gatliff. 

7.  JOHN  WYKE.    A  watch  and  clockmaker,  formerly  of  Prescot,  a  leading 
man  in  schemes  of  public  improvement  and  philanthropy. 

8.  JOHN  ORME.     No  information. 

9.  JOHN  BAINES.     No  information. 

10.  THOMAS  CHUBBARD.     A  very  fair  portrait-painter,  who  also  exhibited 


PLATE   XXIV 


1 


(a)      VIEW    OF   THE    CUSTOM    HOUSE,    TAKEN    FROM    TRAFFORD's    WVENT,    1773 
ISY    PETER    PEREZ    BURDETT 
FIOIII  Eiificlifs  '•Liverpool' 


(t>)      A   SEAPIECK,    WITH    A    SQUALL   OF    RAIN,    BY    RICHARD    WRIGHT,    1764 
ll'alker  Art  Gallfly,  Livrrfiool 
Exhibited  with  the  Free  Society,  1 764 


IN  THE   EIGHTEENTH   CENTURY  67 

landscapes.     His  record  as  an  exhibitor  in  London  I  take  from  Mr.  Graves's 
volume  on  The  Society  of  Artists. 

1763.  A  miniature  (name  given  as  Chubard,  without  baptismal  name,  so  the  ascription 
is  uncertain.    Afterwards,  from  1772,  Chubbard,  painter,  Liverpool). 

1772.  A  landscape  ;  a  view  of  Rock  Savage,  [Cheshire]. 

1773.  An  unfortunate  soldier;  a  landscape. 
A  Hermit,  from  Parnell,  in  landscape. 
A  view  of  Lancaster ;  a  landscape. 

At  the  Free  Society's  Exhibition. 
1771.  A  view  on  the  River  Dee. 

A  view  on  the  River  Mersey. 

At  Liverpool's  first  exhibition  (1774)  Chubbard  showed  fifteen  pictures — 
a  liberal  proportion,  as  the  total  number  of  exhibits  was  eighty-five.  There  were 
ten  landscapes,  including  the  'Unfortunate  Soldier',  two  bird  studies,  a  minia- 
ture of  a  gentleman,  a  lady's  portrait  in  crayon,  and  a  conversation  piece.  Two 
young  ladies,  'pupils  to  Mr.  Chubbard ',  exhibited  still-life  subjects,  and  one  also 
a  '  Portrait  of  a  beggar '.  At  the  two  exhibitions  held  in  Liverpool  by  the 
'  Society  for  Promoting  Painting  and  Design '  (hereafter  to  be  mentioned),  of 
which  he  was  a  member  and  '  visitor ',  Chubbard  was  again  a  generous  exhibitor. 
In  1784  he  sent  portraits  of  a  Bishop,  a  Lady  (in  crayons),  a  Gentleman  (small 
whole  length),  two  Young  Gentlemen  (small  whole  lengths,  in  crayons),  and 
seven  landscapes,  four  marked  as  for  sale.  I  have  given  particulars  of  the 
various  portraits  as  illustrating  the  styles  of  picture  in  favour  with  persons 
giving  portrait  commissions  in  Liverpool.  In  1787  there  were  three  portraits 
and  four  landscapes. 

Of  Chubbard's  life  and  career  I  know  practically  nothing,  except  that  with 
the  aid  of  directories  and  catalogues  I  have  recovered  some  of  his  places  of  resi- 
dence. He  was  probably  a  son  of  Captain  John  Chubbard,  mariner  (who  died 
in  1766),  and  born  in  or  about  1738.  In  1769,  1774,  and  1777  he  was  at  16  Liver 
Street  and  described  as  a  painter.  The  Theatre  Royal  Bill  of  i7th  August,  1774 
(Mrs.  Melmoth's  benefit),  gives  her  address  as  '  Mr.  Chubbard's  in  Hanover 
Street'.  In  1781  he  was  at  17  Lord  Street,  in  1783-4  in  Williamson's 
Square,  in  1787  at  Shaw  Place  (near  Shaw's  Brow,  where  the  Art  Gallery 
now  stands),  in  1790  at  i  Whitechapel,  and  from  1796  to  1807  at  6  Spring- 
field, Soho.  He  is  variously  described  as  painter,  limner,  and  portrait- 
painter.  He  died  of  'old  age'  May  30  at  his  house,  King  Street,  Soho, 
'without  a  struggle  or  a  sigh',  and  was  buried  in  St.  George's  Church,  June  5, 
1809.  The  entry  was  made  by  the  clerk,  William  Maybrick,  grandfather  of 
'  Stephen  Adams '.  From  1769  to  1800  there  was  also  in  Liverpool  Samuel 
Chubbard,  a  carver  and  gilder  and  silverer,  who  was  evidently  a  near  relation  of 
the  painter,  as  in  1774  and  1781  their  addresses  were  the  same.  He  was  asso- 
ciated with  P.  P.  Burdett  in  his  '  invention  '  of  aquatint  engraving.  Samuel  died 

K  2 


68  LIVERPOOL  ART  AND  ARTISTS 

at  '  Kensington ',  February  8,  1807,  aged  66  or  67  years,  of  '  a  disorder  in  the 
spine'.  Billinge's  Liverpool  Advertiser  of  February  9  styles  him  'a  worthy, 
honest  man '. 

The  portrait  of  the  notable  potter,  Richard  Chaffers,  by  Thomas  Chubbard 
(Plate  xxvni  (c)},  which  is  in  the  Liverpool  Museum,  is,  if  it  was  painted  advivum, 
an  early  example  of  the  artist's  work.  I  should  add  that  in  referring  to  this 
portrait  Mayer  writes  of  it  as  by  Caddick — presumably  William.  One  may 
reasonably  infer  from  Chubbard's  record  as  an  exhibitor  that  his  chief  interest 
in  art  was  landscape,  and  that  he  merely  painted  portraits  for  a  livelihood.  The 
only  landscape  by  him  I  have  traced  is  one  of  Hornby  Castle,  near  Lancaster, 
drawn  about  1772,  and  engraved  on  wood  by  W.  Hughes  for  Gregson's 
Fragments  towards  a  history  of  Lancashire  (1816). 

ii.  RICHARD  TATE.  According  to  Mayer,  a  merchant  and  patron  of  art  in 
Liverpool.  In  1774  he  was  a  good  second  to  Chubbard  with  eleven  subjects, 
most,  if  not  all,  in  crayon,  chalk,  or  '  black-lead '.  William  Tate,  Liverpool, 
showed  two  portraits  and  two  drawings,  possibly  copies,  in  black  chalk.  Richard 
Tate  was  an  honorary  exhibitor  at  the  1784  exhibition,  his  contributions  being 
of  a  modest  description  :  '  A  bathing  piece '  and  '  The  British  Fishery ',  both  in 
chalks,  and  a  head  of  Rubens  (already  shown  in  1774)  in  black-lead.  The  second 
of  these  was  possibly  a  copy  of  Richard  Wright's  picture  above  mentioned.  At 
the  same  exhibition  the  Tate  family  (all,  according  to  Mayer,  '  accomplished ') 
was  in  force,  there  being  three  other  honorary  exhibitors  of  that  name,  viz.  Paul, 
T(homas)  M(oss),  and  Miss  Tate,  all  of  Liverpool.  Dismissing  the  others  as 
unimportant  contributors  of  one  triviality  apiece,  I  mention  only  T.  M.  Tate, 
who  showed  two  heads  in  crayon  and  two  landscapes,  the  latter  both  'after 
Mr.  Wright  of  Derby '.  In  1787  he  showed  three  landscapes,  one  of  which  was 
'A  view  from  nature,  near  Matlock'.  I  have  no  doubt  that  all  these  amateurs 
were  Richard's  offspring,  as  well  as  William  Tate,  F.S.A.,  a  portrait-painter  of 
respectable  rank.  When  he  first  exhibited  at  the  Society  of  Artists  he  was 
described  as  '  pupil  to  Mr.  Wright  of  Derby'.  It  is  a  reasonable  inference  that 
he  was  the  eldest  son  of  Richard,  as  in  1774  and  1775  his  address  was  '  Liverpool '. 
He  exhibited  there  in  1774,  in  1783  he  was  a  member  and  visitor  of  the  Society 
for  Promoting  Painting  and  Design,  and  in  1784  he  exhibited  nine  portraits  and 
'  Belisarius  and  his  Daughter',  his  address  being  then  Liverpool;  although  in 
1773  the  Society  of  Artists'  catalogue  assigned  him  to  Manchester,  where  he 
was  again  located  in  1787,  when  he  sent  to  the  second  Liverpool  exhibition  two 
portraits  and  'Abraham  and  Isaac',  and  in  1791,  the  last  time  he  sent  to  London. 
Bryan's  Dictionary  states  that  he  was  born  about  the  middle  of  the  eighteenth 
century  (where  and  of  what  stock  is  not  mentioned),  studied  under  Wright  of 
Derby,  and  practised  successively  in  Liverpool,  London,  Manchester,  and  Bath ; 
also  that  he  died  at  Bath  in  1806. 


PLATE   XXV 


(</)       RICHARD    CADDICK,    BY    HIMSELF 
In  the  possession  of  Mias  Sntlloiv 


(I)]       GEORGE  STUBBS(?),   BY  RICHARD  CADDICK  (?) 
14x11  HI. 
Walker  Art  Gallery,  Liverpool  'No.  643) 


(c)      GEORGE    STUBBS,    BY   OZIAS    HUMPHRY 
Pastel,  23  X  39  in. 
Walker  Art  Gallery,  Liverpool  (No.  486 


IN   THE   EIGHTEENTH   CENTURY  69 

In  all  he  showed  twelve  portraits  at  the  Society  of  Artists  (1771-91),  of  which 
he  was  elected  a  Fellow  in  1774.  At  the  Royal  Academy  he  exhibited  twelve 
works  from  1776  to  1804.  His  addresses  are  Liverpool  in  1776,  London  177710 
1782,  Manchester  178710  1803,  ar»d  Bath  in  1804.  Some  of  his  Royal  Academy 
exhibits  were  genre  subjects  :  '  Belisarius  and  his  Daughter '  in  1776,  '  Abraham 
and  Isaac'  in  1787,  and  in  1802  '  Boy  blowing  a  bladder,  and  mischievous  girl' 
and  '  Girls  with  a  firestick  '. 

T.  M.  Tate,  like  his  father,  was  a  connoisseur  and  amateur.  There  are 
numerous  references  to  members  of  the  family  in  Bemrose's  Life  of  Joseph  Wright 
of  Derby,  but  their  value  is  diminished  by  the  fact  that  Mr.  Bemrose  seems  not 
to  have  been  sufficiently  alive  to  the  fact  that  there  were  several  Tales,  or  at 
least  he  does  not  at  the  various  references  enable  his  readers  to  know  which  of 
them  is  the  person  referred  to.  I  think  William  and  'T.  M.'  were  both  pupils 
of  Wright,  but  the  latter  was  afterwards  his  more  intimate  friend. 

12.  PETER  ROMNEY.    A  younger  brother  of  George  Romney,  born  June  i, 
1743.     He  studied  with  George  at  Kendal  1759-62.     In  1765  he  followed  him 
to  London,  but  did  not  long  remain  there.    Thereafter  he  led  an  itinerant  life, 
of  which  some  particulars  are  given  in  an  appendix  to  the  Rev.  John  Romney's 
life  of  his  father.     In  a  letter  there  quoted  (November  5,  1769)  he  wrote  from 
Liverpool :  '  I  have  about  a  dozen  pictures  in  hand  here,  but  what  further 
encouragement  I  shall  meet  with  I  cannot  judge.'     He  went  from  Liverpool  to 
Manchester  and  continued  his  wandering  life,  which  included  some  experience 
of  prisons,  until  his  death  in  May  1777. 

13.  RICHARD  CADDICK.    This  was  a  portrait-painter  of  importance,  and  son 
of  William   Caddick,  also  portrait-painter.      The  latter  was  son  of  William, 
a  mercer,  born  about  1680,  fined  in  1703  for  extending  hospitality  to  Joseph 
Harrison  and  his  three  children,  they  being   '  foreigners ' !     Liverpool  was 
evidently  sound  in  those  days  on  the  subject  of  aliens.     Caddick  was  sub-bailiff 
in  1710,  sidesman  in  1718,  churchwarden  in  1719,  and  an  overseer  in  1729.     He 
died  and  was  buried  at  St.  Peter's  Church  December  15, 1756.    His  son  William, 
the  artist,  was  born  in  1719  and  died  on  December  29,  1794.    As  my  biographical 
outline  is  more  or  less  conjectural,  I  think  it  well  to  mention  that  the  St.  Peter's 
register  records  the  burial  on  July  8,  1755,  of  William,  son  of  Thomas  Chad- 
dock  (sic),  limner,  and  on  November  18,  1758,  of  Ann,  daughter  of  Thomas 
Chadwick  (st'c),  limner.    This  Thomas  may  or  may  not  have  been  a  Caddick, 
but  at  any  rate  he  was  a  limner,  and  is  therefore  of  interest  in  this  connexion. 

From  1766  William,  the  artist,  lived  in  Old  Hall  Street  (his  house  was 
in  the  part  known  as  North  Walk),  and  he  probably  died  there  in  1794.  He 
married  Eliza,  or  Elizabeth,  Wood  of  Burslem,  a  member  of  the  noted  family  of 
potters.  She  was  born  on  June  n,  1724,  and  died  on  September  17, 1795.  William 
Caddick's  pictorial  manner  is  well  illustrated  by  his  portrait,  painted  in  1747,  of 


7o  LIVERPOOL  ART  AND   ARTISTS 

Aaron  Wood,  his  brother-in-law,  a  worthy  of  whom  it  is  recorded  that  '  he  was 
never  heard  [or  known]  to  swear,  chew  tobacco,  take  snuff,  or  whistle  or  sing  in 
his  life,  and  was  considered  the  most  lively,  pleasant,  and  merriest  man  in  the 
county '.  W.  Caddick  has  not  quite  succeeded  in  telling  us  all  this  with  his 
brush  (Plate  xxvm  (d)),  but  his  portrait  (which  I  reproduce  by  the  courtesy 
of  Mr.  Frank  Falkner  from  his  valuable  work,  The  Wood  Family  of  Burslem, 
1912),  in  spite  of  the  hard  formality  of  the  period,  is  alert  and  expressive. 
There  is  no  marked  difference  of  style  in  W.  Caddick's  later  portrait  (1766)  of 
Thomas  Bentley  (potter,  partner  of  Wedgwood );  the  early  head  of  Ralph  Wood, 
the  'honest  miller'  (1744),  is  hard,  though  expressive;  the  picture  of  John  Wood 
of  Brownhills,  which  is  probably  later,  is  more  animated  (the  hands  are  awkwardly 
placed) ;  and  the  sketch  portrait  of  his  son  is  surprisingly  alert  and  sympathetic. 
Mr.  Falkner  justly  says  that  it  '  might  easily  be  considered  to  have  emanated 
from  the  easel  of  Romney,  so  artistically  beautiful  is  the  effect  achieved '. 
According  to  the  Underhill  MS.,  W.  Caddick  was  well  acquainted  with  Richard 
Wright  and  George  Stubbs,  which  is  extremely  probable.  We  must  accept  with 
a  qualification  the  further  statement  that  Caddick's  son  Richard  '  was  contem- 
porary with  Stubbs  and  Wright ',  because  it  is  obviously  the  result  of  a  confusion 
of  the  son  with  the  father.  A  further  observation  that  '  his  pictures  were  amongst 
the  earliest  exhibitions  of  the  town '  is  a  good  example  of  words  so  employed  as 
to  mean  nothing.  Underhill  had  a  distinct  talent  in  that  direction. 

William  Caddick  is  said  to  have  been  President  of  Liverpool's  second  Art 
Society  on  its  formation  in  or  about  1773,  but  whether  this  was  William  the 
second,  or  his  son  of  the  same  name,  I  am  not  sure.  His  name  does  not  appear 
in  the  1774  Catalogue,  as  he  was  not  an  exhibitor,  and  no  list  of  members  and 
officers  is  given. 

He  had  two  sons,  Richard  and  William.  Richard  was  born  about  1750, 
perhaps  a  little  earlier ;  William  was  probably  younger.  Both  became  painters. 
William  may  be  dismissed  first,  as  I  know  less  about  him.  In  1780  W.  Caddick, 
junior  (North  Walk,  Liverpool),  made  the  family's  sole  appearance  at  the  Royal 
Academy  exhibition,  with  a  '  Portrait  in  the  character  of  Circe  '.  As  W.  Caddick, 
senior,  was  then  sixty-one  years  of  age,  and  his  father  had  been  dead  many  years, 
this  picture  must  have  been  by  his  son.  I  have  not  otherwise  traced  him  as  an 
exhibitor  in  Liverpool  or  elsewhere.  Probably  he  died  young. 

Richard  lived  until  about  1823.  His  successive  addresses,  so  far  as  traced, 
were  various  numbers  in  Old  Hall  Street,  1783  to  1800;  16  Gerard  Street  from 
1805 ;  Lord  Street,  1807 ;  and  again  Gerard  Street,  1810  to  1823.  In  the  earlier 
directories  he  is  described  as  portrait-painter,  but  after  1805  as  gentleman. 
Although  a  member  of  the  1769  Society,  Richard's  name  does  not  appear  in 
connexion  with  the  1774  Exhibition.  In  the  Catalogue  of  1784  he  was  mentioned 
as  a  Visitor  of  the  Society,  and  he  exhibited  three  portraits  of  gentlemen.  There 


PLATE   XXVI 


(a)      CATTLE,    BY    CHARLES    TOWNE 

Walker  Art  Gallery,  Liverpool  (No  378 


(6)      LANDSCAPE,    BY    RATHBONE,    WITH    FIGURES    BY    FAIRFIELD 
/;/  the  Collection  of  John  Lour,  Esq. 


IN  THE   EIGHTEENTH   CENTURY  71 

is  no  mention  of  him  in  the  1787  Catalogue,  and  here  my  record  of  him  as  an 
exhibitor  ends.  Caddick  was  married,  and,  according  to  Mr.  Frank  Falkner, 
had  three  sons  and  a  daughter.  One  son  named  William  may  have  been  the 
turner  of  that  name  recorded  in  Liverpool  directories  until  1822.  The  whole 
family  is  represented  in  the  artist's  very  interesting  '  conversation  piece ',  which 
I  was  so  fortunate  as  to  encounter  nine  years  ago  (Plate  xxix  (c)).  I  at  once 
secured  it  for  our  Gallery,  and  my  chief  difficulty  was  to  persuade  others 
that  it  was  worth  having,  for  it  was  in  a  deplorably  dirty  and  damaged  con- 
dition. Careful  treatment,  however,  changed  all  that,  and  it  is  now  our 
unique  example  by  a  Liverpool  man  of  a  branch  of  portraiture  much  favoured 
by  Hogarth,  Zoffany,  and  Peters.  The  portrait  of  George  Stubbs  (Plate  xxv(£)) 
puzzles  me  because  it  represents  him  as  a  younger  man  than  Caddick  can  have 
known  after  becoming  a  qualified  painter,  even  if  he  were  a  youthful  prodigy.  I 
come  to  the  conclusion  that  if  it  is  by  Richard  it  is  not  Stubbs ;  if  it  is  Stubbs, 
it  was  more  likely  painted  by  William  Caddick.  Sir  Walter  Gilbey  ascribes  it 
to  Thomas  Chubbard.  Richard's  capacity  for  dealing  with  portraiture  on 
a  large  scale  is  well  illustrated  by  his  portrait  of  Joseph  Brooks,  now  in  the 
board-room  of  the  Liverpool  workhouse  (Plate  xxxi  (b)).  His  portrait  of 
Mrs.  Proudlove  (Plate  xxix(^))  is  obviously  an  early  performance  (the  date  is 
1768),  but  it  is  by  no  means  incapable.  Richard's  portrait  of  himself  (Plate 
xxv  (a))  is  excellent. 

14.  THOMAS    CRITCHLOW.    A   watchmaker   in    Castle    Street ;    no  other 
information. 

15.  PAUL  PENNINGTON.     I  have  no  information  about  this  man,  who,  I  con- 
jecture, may  have  been  related  to  the  notable  potters,  the  Penningtons,  and 
perhaps  father  of  John  Pennington,  a  landscape  artist  in  the  end  of  the  eighteenth 
and  the  early  part  of  the  nineteenth  century,  of  whom  I  wrote  a  short  account 
for  Bryan's  Dictionary  (vol.  iv,  p.  91,  1904).     Mayer  says  John  was  son  of  the 
Liverpool  potter  of  that  name. 

16.  SAMUEL  ALCOCK.     No  information. 

17.  MATTHEW  TURNER,  M.D.    A  physician  of  good  standing,  a  friend  of 
Josiah  Wedgwood.     P.  P.  Burdett,  in  a  letter  dated  February  4, 1771,  to  Wright 
of  Derby,  indicated  Turner  as  more  likely  than  himself  to  give  him  useful  infor- 
mation on  points  raised  in  regard  to  his  picture,  '  The  Alchymist '. 

18.  MATTHEW  DOBSON,  M.D.  An  eminent  physician,  and  a  member  of  the 
Royal  Society.     He  resided  in  Harrington  Street,  and  subsequently  to  1769 
removed  to  Bath,  where  he  died  in  1784. 

19.  JOHN  EYES,  JUNIOR.    Son  of  John  Eyes,  a  notable  surveyor,  architect, 
hydrographer,  and  map-maker,  who  died  in  1773.   John,  junior,  was  an  attorney, 
and  he  died  early.     William  Roscoe  was  articled  to  him. 

20.  CHARLES  EYES.     Probably  brother  of  the  above,  but  Mr.  R.  Stewart- 


72  LIVERPOOL  ART  AND  ARTISTS 

Brown,  M.  A.,  from  whose  Maps  and  Plans  of  Liverpool  and  District  by  the  Eyes 
Family  (1910)  I  have  obtained  most  of  my  information  under  this  head,  suggests 
a  doubt,  as  in  connexion  with  Charles's  application  in  1780  for  admission  as 
a  freeman  his  father's  name  is  recorded  as  James;  and  there  was  in  1761  a 
James  Eyes,  a  cabinet-maker,  and  in  1766  a  brewer  so  named.  The  Underbill 
MS.  mentions  a  James  Eyes,  brother  of  John,  who  was  supervisor  of  highways 
for  the  Corporation.  Charles,  according  to  Mr.  Stewart-Brown,  was  born  about 
1754,  but  his  appearance  as  member  of  the  Art  Society  in  1760  suggests  an 
earlier  date.  He  was  Town  Surveyor  in  1777.  In  1774  he  exhibited  a  plan  of 
Liverpool  as  it  was  in  1725  (probably  copied  from  his  father's  plan),  a  view  of 
Prescot  Church  in  Indian  ink,  and  a  '  Mort  de  Cleopatre '.  In  1784  he  exhibited 
a  plan  of  the  town  and  township.  In  1787  he  was  on  the  Committee  of  the 
Society.  We  have  an  oil  painting  which  is  ascribed  to  him,  entitled  'Tran- 
mere  Pool  in  1810'.  Except  that  the  standpoint  of  the  artist  was  on  the 
Cheshire  shore  of  the  Mersey,  near  the  Tranmere  Pool,  the  title  is  wrong. 
It  is  a  view  of  Liverpool,  painted  with  such  meticulous  care  that  the  various 
buildings  and  streets  are  easily  identified.  From  examination  of  these,  and  the 
costumes  of  a  lady  and  gentleman  in  the  foreground,  I  would  fix  the  date  of  the 
picture  about  1780.  It  is  in  poor  condition,  but  is  evidently  the  work  of  an  effi- 
cient painter.  Charles  Eyes,  who  had  succeeded  to  the  business  of  John,  died 
September  3,  1803,  and  was  succeeded  in  turn  by  his  son  Edward  (born  1784), 
eldest  of  a  family  of  eleven.  He  also  was  a  notable  surveyor  until  his  retire- 
ment about  1851,  when  he  removed  to  Nantwich.  His  son  Edward  succeeded 
him,  but  died  about  1860. 

21.  JOSEPH  DEAR.     This  cannot  have  been  John  Deare,  or  his  nephew, 
Joseph  Deare,  both  sculptors,  as  they  were  born  respectively  in  1759  and  (about) 
1796.     John's  father  was  named  Thomas,  and  Joseph's  Edward.     Probably  this 
was  a  member  of  the  same  family. 

22.  JOHN  SYKES.     No  information. 

The  history  of  the  pioneer  '  Academy ',  of  which  these  were  the  original 
members,  is  not  a  distinguished  one.  An  analysis  of  the  list  of  twenty-two 
persons  who  originally  formed  it  shows  that  it  included  three  undoubted  pro- 
fessional artists — Burdett,  Chubbard,  and  R.  Caddick ;  four  doubtfuls  (three  of 
whom,  however,  were  exhibitors)— Worrall,  R.  Tate,  C.  Eyes,  and  J.  Dear(e)  ; 
three  doctors,  a  schoolmaster,  and  a  watchmaker.  There  were  also  ten  persons 
about  whom  I  have  no  information,  some  of  whom  were  probably  professional 
or  amateur  artists.  There  were  doubtless  several  other  artists  in  the  town,  as 
well  as  the  three  named,  and  W.  Tate,  W.  Caddick,  and  W.  Caddick,  junior,  of 
whom  I  have  given  some  particulars.  Mayer  records  that  between  December  15, 
1769,  and  February  12,  1770,  the  Society's  expenditure  was  /n  185.  gd.,  of 
which  /8  185.  3</.  went  for  plaster  figures,  cast  b}'  Flaxman.  These  were  no 


PLATE  XXVI 1 


(a)      LANDSCAPE,    BY   RATHBONE 

In  the  Collection  of  A.  Lfan  A  Hull,  Esq. 


(b)      LANDSCAPE,    BY    RATHBONE 

Jn  the  Collfction  of  A.  Lion  Adult,  Esrj. 


IN   THE   EIGHTEENTH   CENTURY  73 

doubt  intended  for  use  by  students,  and  it  was  also  planned  that  there  should 
be  lectures  on  anatomy,  perspective,  painting,  &c.,  in  the  correct  academic 
manner.  According  to  Underhill  the  Society  was  dissolved  after  continuing  for 
one  year,  but  was  revived  by  several  of  its  members  in  1770,  when  William 
Caddick,  junior,  was  president,  and  there  were  fifty-nine  members.  The  date 
of  this  revival,  according  to  Mayer,  was  1773,  which  I  think  more  likely  to  be 
correct.  Everard  was  to  lecture  on  architecture,  Dr.  Turner  on  anatomy, 
Burdett  on  perspective,  and  Dr.  Renwick  on  chemistry.  I  have  not  traced  any 
register  of  members. 

In  1774  the  renewed  Society  determined  to  have  an  exhibition  of  pictures  in 
their  room  at  30  John  Street,  and  this  was  opened  on  the  ist  of  August.  It  was 
not  a  very  extensive  affair,  but  we  have  to  remember  that  it  was  the  first  pro- 
vincial exhibition  in  the  kingdom,  and  only  five  years  after  the  first  exhibition  of 
the  Royal  Academy.  I  have  not  seen  the  Catalogue,  but  fortunately  Mayer 
reprinted  it  verbatim.  From  this  source  I  learn  that  the  adventurers  called 
themselves  '  The  Society  of  Artists  in  Liverpool ',  and  that  it  was  formed  by 
a  few  gentlemen  '  last  winter,  with  a  view  to  improving  each  other,  as  far  as  their 
situation  would  permit,  in  some  of  the  most  useful  of  those  Arts  [the  polite  arts], 
particularly  in  such  as  have  relation  to  PAINTING,  and  of  assisting  youth  in  their 
studies,  to  the  best  of  their  power,  without  any  expectation  of  pecuniary  advan- 
tage '.  In  submitting  '  the  performances  of  some  of  the  members  of  this  society 
...  for  the  inspection  of  their  friends ',  the  writer  of  the  introduction  deprecated 
harsh  criticism,  because  of  '  the  difference  there  must  necessarily  be  betwixt  the 
productions  of  a  small  private  society,  resident  in  a  remote  spot,  to  which  the 
Muses  have  been  so  lately  invited,  and  those  of  a  numerous  collection  of  artists, 
happily  possessing  a  more  favoured  residence  of  that  lovely  sisterhood,  as  well 
as  worthily  enjoying  the  immense  advantages  of  Royal  patronage  and  National 
encouragement '. 

I  agree  with  Mayer  that  the  hand  is  the  hand  of  young  William  Roscoe 
(aged  21),  who  had  produced,  and  on  December  13,  1773,  read  to  the  assembled 
Society,  an  ode  on  its  institution,  which  was  printed  uniform  with  its  1774 
Catalogue.  Unfortunately  that  elegant  composition,  in  the  taste  of  Collins, 
Dryden,  and  Pope,  was  much  too  elevated  in  style  to  admit  of  any  familiarities 
in  the  way  of  direct  references  to  the  Society  or  its  members.  Roscoe  mentions 
only  Angelo,  Titian,  Romano,  Corregio  (sic),  Loraine  (sic),  and  Hogarth.  These 
masters  are  oddly  paralleled  with  Milton,  Waller,  Dryden,  Pope,  Thomson,  and 
Butler  respectively. 

Rather  more  than  half  (44)  of  the  exhibits  have  already  been  referred  to  in 
discussing  the  list  of  members,  but  from  what  remains  we  have  evidence  to 
confirm  the  idea  that  Liverpool  had  artists  other  than  those  connected  with  it. 
Roscoe  himself  displayed  '  The  mother,  a  drawing  in  Indian  ink,  after  a  French 

VI.  L 


74  LIVERPOOL  ART  AND  ARTISTS 

engraving ',  which,  if  proof  were  needed,  would  show  him  to  have  had  from  his 
youth  that  direct  interest  in  the  fine  arts  which,  through  his  activities,  strongly 
affected  public  taste  in  his  native  town.  The  following  exhibitors  were  evidently 
artists  by  profession  : 

1.  JOHN  FORMBY  (n  Pool  Lane,  now  South  Castle  Street).     A  frame  with 
seven  gentlemen's  portraits,  and  one  of  a  lady,  in  miniature;  three  landscapes ; 
a  figure  with  an  urn,  and  a  head  of  the  Marquis  of  Granby,  in  human  hair.     In 
another  frame  an  Indian  Emperor  in  human  hair  maintained  a  solitary  dignity 
befitting  his  rank.     I  am  sorry  to  say  that  I  know  nothing  about  this  miniaturist, 
who  probably  came  of  a  very  old  local  family  which  dates  back  to  the  fourteenth 
century. 

2.  WILLIAM  JACKSON  (67  Frog  Lane,  now  styled  Whitechapel).     Portrait  of 
a  lady,  miniature  of  a  gentleman,  and- three  landscapes,  apparently  marines,  for 
the  titles  are  :  'Small  breeze',  'Close  by  the  wind,  a  hard  gale',  and  'Moon- 
light, a  study  from  nature ',  a  description  which  is  eloquent  as  to  the  artist's 
usual  practice  in  picture-making.     It  does  not  seem  to  have  resulted  in  great 
fame,  for  I  can  learn  nothing  about  him  or  his  pictures.    He  again  exhibited  (two 
ship  portraits)  in  1784,  and  a  '  View  from  the  Mersey'  in  1787. 

3.  NATHANIEL  JOHNSON  (same  address),  an  engraver.     Mr.  Henry  E.  Young 
(in  Bygone  Liverpool,  1913)  confuses  this  man  with  a  Custom  House  officer  named 
Nicholas  Johnson.     He  showed   two  proofs  of  landscapes  after  designs  by 
Rathbone,  as  to  whom  vide  infra. 

4.  -      -  MAYOR  (Temple  Street),  engraver  and  seal-cutter.     A  frame  with 
impressions  of  arms,  ciphers,  and  crests.     Mayer  had  no  information  about  this 
man.     I  find  that  William  Mayor,   engraver,  was  married  to  Jane  Nichols, 
spinster,  at  St.  George's  Church  on  November  n,  1766. 

5. SHARPLES  (Duke  Street).     A  half-length  portrait  of  a  lady  and  two 

small  ovals.  This  is  probably  James  Sharpies,  of  whom  a  careful  account  is  given 
in  the  Dictionary  of  National  Biography.  He  was  born  about  1750  and  died  at 
New  York  February  6,  1811.  From  1779  to  1785  he  was  at  Cambridge,  and 
exhibited  fourteen  drawings  at  the  Royal  Academy.  He  afterwards  went  to 
America,  where  he  travelled  about  in  a  caravan,  executing  small  portraits  in 
profile,  mostly  in  pastel.  In  1795  he  drew  George  Washington  from  the  life : 
a  copy  of  this,  by  his  wife,  is  in  the  National  Portrait  Gallery. 

6.  —  -  SYKES  (Houghton  Street).     Three  drawings  in  Indian  ink,  copies 
from  Cipriani ;  probably  John  Sykes  already  mentioned. 

Other  local  exhibitors  were  : 

7.  MATTHEW  GREGSON  (Castle  Street),  an  upholsterer,  who  showed  three 
designs  for  beds  respectively  in  the  Chinese,  Palmyrean,  and  Gothic  tastes.     He 
was  a  capable  draughtsman,  and  made  excellent  topographical  drawings.     His 
valuable  publication,  Fragments  towards  a  History  of  Lancashire,  has  already 
been  mentioned.     He  died  September  25,  1824,  aged  75  years,  and  was  buried 


PLATE   XXVIII 


(a)      THOMAS   JOHNSON,    MAYOR    OF    LIVERPOOL,   1767 
BY   HENRY    PICKERING 
Liverpool  Town  Hall 


(l>)      WIFE  AND  DAUGHTER  OF  THOMAS  JOHNSON,   1767 
BY    HENRY    PICKERING 
Liver/tool  Town  Hall 


(C)       RICHARD   CHAFFERS 

BY    THOMAS    CHUBBARD 
Liverpool  Museum 


((()      AARON    WOOD 

PAINTED    BY   WM.    CADDICK,    1747 
In  the  fosstssioM  of  Mr.  A.  H.  E.  Wood 


IN   THE   EIGHTEENTH   CENTURY  75 

at  St.  John's  Church.     A  memorial  which  was  erected  in  that  church  was 
on  its  demolition  removed  to  the  church  of  St.  Nicholas. 

8.  DANIEL  DAULBY,  JUNIOR  (no  address),  a  connoisseur  and  collector  who 
married  Roscoe's  sister.    Mayer  opined  that  his  three  exhibits  were  not  his  own 
productions  :  I  do  not  know  why.     They  were  a  landscape  in  oil  and  two  chalk 
drawings  after  (i)  Woollett's  'Celadon  and  Amelia',  and  (2)  the  first  scene  in 
The  Maid  of  the  ^////—probably  the   one   (also  engraved    by  Woollett)   by 
J.  I.  Richards,  R.A.,  which  contains  the  only  known  portrait  of  Miss  Brent, 
the  singer,  and  the  earliest  portrait  of  my  great-grandfather  Charles  Dibdin 
(aged  19)  in  the  parts  respectively  of  Patty  and  Ralph.     Daulby  was  the  first  to 
attempt  a  catalogue  of  Rembrandt's  works  (1796). 

9.  -    —  STRINGER,  JUNIOR  (Knutsford).     His  father  was  an  artist  and  colour 
maker  at  Seacombe  on  the  Cheshire  shore  opposite  Liverpool.    There  were 
two  sons:  (i)  Samuel,  who,  according  to  Redgrave,  'had  no  art  merit',  and 
(2)  Daniel,1  who  'sacrificed  his  great  talent  to  the  company  of  country  squires 
and  the  love  of  Cheshire  ale '.     We  do  not  know  which  of  these  two  worthies 
produced  the  three  landscapes  (with  a  mill,   cattle,  and  figures  respectively) 
shown  in  1774.     I  think  it  was  Samuel  (described  in  1784  as  lately  dead),  as  his 
exhibits  in  the  latter  year  were  landscapes,  while  those  of  Daniel  were  chiefly 
figure  subjects.     Redgrave  says  his  drawings  had  'great  comic  power'. 

10.  J.  WRIGHT  (no  address).     Three  portraits  of  gentlemen  in  black  chalk. 
Mayer  is  careful  to  explain  that  this  was  not  Joseph  Wright  of  Derby,  and  then 
falls  into  the  error  of  supposing  the  exhibitor  was  Richard  Wright. 

n.  RATHBONE  (now  at  Preston).  Three  landscapes.  Mayer,  oddly 

enough,  could  not  identify  this  man.  It  was  evidently  John  Rathbone,  a 
Cheshire  artist  of  very  fair  ability,  sometimes  called  the  Manchester  Wilson, 
born  about  1750,  died  1807.  He  exhibited  at  the  Royal  Academy  forty-eight 
pictures  from  1785  to  1806;  and  two  small  landscapes  with  figures  at  the  Society 
of  Artists  in  1790  (see  Plates  xxvi  (b)  and  xxvn).  He  also  seems  to  have  been 
a  victim  to  Cheshire  ale,  his  boon  companions  including  G.  Morland  and 
Ibbetson,  who  painted  figures  in  his  landscapes.  There  is  a  small  oil  landscape 
by  him  in  the  Liverpool  Gallery. 

There  were  also  seven  exhibits  '  by  different  hands  ',  which  included  a  model 
of  a  ship  in  relief,  two  models  in  clay  for  tablets,  a  head  in  crayons  by  a  young 
lady,  another  Peter  Paul  Rubens  in  black  chalk,  and  a  water-colour  flower-piece. 
Mr.  William  Emanuel, '  now  at  Bristol ',  sent  a  model  of  a  brig  twenty-one  inches 
long,  and  M.  Richards  (Birmingham)  and  Thomas  Wilkes  (of  Whensbury,  Staffs.) 
each  showed  an  enamel  picture. 

The  Society  was  unable  to  survive  this  prodigious  effort.  How  and  when 
it  died  is  not  precisely  recorded,  but  on  November  2,  1775,  the  casts  and  prints 

1  A  portrait  of  this  artist,  by  himself,  has  recently  been  acquired  by  the  National  Gallery 
(No.  3137).     It  is  signed  '  D.  Stringer,  Pinx.  1776.' 

L  2 


76  LIVERPOOL  ART  AND  ARTISTS 

were  distributed  (I  suppose  by  auction)  among  the  members,  in  exchange  for 
£n  is.  gd.,  which,  no  doubt,  went  to  pay  its  modest  liabilities.  According  to 
Mayer,  Roscoe  said  the  collapse  was  'principally  occasioned  by  the  loss  of 
a  very  ingenious  and  spirited  member  now  resident  in  Germany '. 

We  hear  no  more  of  Liverpool  artists  until  1783,  when  Roscoe  had  grown 
from  a  clever  aspirant  to  an  influential  leader  of  thought,  sufficiently  important 
to  be  made  the  Vice-President  and  Treasurer  of  a  new  venture,  '  The  Society  for 
Promoting  Painting  and  Design  in  Liverpool ',  in  which  I  think  he  was  the  chief 
mover. 

The  promoters  are  described  (in  the  preface  to  the  1784  Catalogue)  as  'a 
number  of  Gentlemen  of  this  town  and  neighbourhood ',  which  may  safely 
be  interpreted  as  meaning  Roscoe  and  his  friends.  The  artists  'generously 
seconded '  their  views  and  allowed  themselves  to  be  nursed  anew  into  collective 
activity.  Rooms  and  models  were  provided,  lectures  on  suitable  subjects  were 
arranged,  students  were  admitted  and  instructed  by  Visitors.  These  were 
Richard  Caddick,  Thomas  Chubbard,  Pat.  McMorland,  Christopher  Pack, 
William  Tate,  F.S.A.,  and  John  Williamson. 

The  first  President  was  a  local  magnate,  Henry  Blundell  of  Ince ;  Thomas 
Taylor  was  Secretary ;  and  the  Committee  of  Management  for  the  year,  from 
October  18,  1783,  consisted  of  six  gentlemen,  not  artists,  well  known  locally  as 
connoisseurs  and  lovers  of  art,  viz.  Daniel  Daulby,  Rev.  Mr.  Finch,  Guy  Green, 
Matthew  Gregson,  Michael  Renwick,  and  Matthew  Turner. 

A  subscription  of  one  guinea  annually  qualified  for  honorary  membership, 
which  apparently  was  the  only  form  of  membership.  The  subscribers  were 
annually  to  appoint  a  Committee  of  six ;  and  the  artists  were  to  be  appointed 
Visitors  of  the  Society  and  'have  direction  of  it,  with  respect  to  Drawing, 
Painting,  and  the  whole  of  the  practical  business '.  They  were  to  attend  in  such 
rotation  as  might  be  decided  among  themselves,  with  the  rider  that  one  should 
attend  every  evening  to  direct  students.  Students  above  the  age  of  fourteen 
were  to  be  admitted  free  on  satisfying  the  Visitors  as  to  their  ability,  and  lectures 
were  to  be  delivered  at  least  once  a  week  in  the  winter  season  by  members  on 
anatomy,  chemistry,  the  theory  and  practice  of  painting,  architecture,  perspec- 
tive, &c. 

Before  pursuing  the  brief  history  of  the  Society,  it  will  be  well  to  deal  with 
the  above-named  officers,  members  of  Committee,  and  Visitors,  so  far  as  not 
already  referred  to. 

i.  HENRY  BLUNDELL,  Esq.,  of  Ince  (1724-1810).  A  member  of  a  Roman 
Catholic  county  family,  who  acquired  considerable  reputation  as  a  connoisseur 
and  collector.  There  is  an  adequate  biography  of  him  in  the  D.  N.B.  He 
formed  a  remarkable  collection  of  art  objects,  chiefly  ancient  sculpture,  which  is 
still  at  Ince-Blundell  Hall.  It  includes  three  paintings  of  birds  by  '  Caddock, 


PLATE  XXIX 


(rt)      WILLIAM    ROSCOE,    WHEN    A    YOUNG    MAN 
BY    RICHARD   CADDICK 
Walker  Art  Gallery,  Liver/tool  ;No   485") 


(b)       MRS.    IT10UDLOVK    (lift    EI.I/AHETH   WOOD) 
BY    RICHARD    CADDICK,    1768 
In  tltt  possession  of  Mr.  A.  H.  E.  \Vi.mi 


(C)      CONVERSATION    PIECE,    BY    RICHARD    CADDICK 
Walker  Art  Gallery,  Liverpool  (No.  759) 


IN  THE   EIGHTEENTH   CENTURY  77 

Junior'  (William  Caddick),  'A  Calm  at  Sea'  by  Richard  Wright,  three  pictures 
by  George  Stubbs,  a  portrait  of  a  pony  by  [Charles]  Towne,  and  a  piece  of 
sculpture  by  John  Deare. 

2.  THOMAS  TAYLOR,  a  merchant,  grandson  of  John  Taylor,  a  noted  Hebraist 
(see  D.  N.  B.).     Thomas  Taylor  was  born  about  1758,  was  a  pupil  of  Thomas 
Chubbard,  and  became  a  prominent  figure  in  the  intellectual  circles  of  Liverpool. 

3.  REV.  [WILLIAM]  FINCH,  curate  of  St.  Paul's  Church,  probably  a  connexion 
of  the  Earle  family. 

4.  GUY  GREEN.    Partner  of  John  Sadler  the  potter,  whose  invention  of  the 
method  of  transfer  printing  on  pottery  revolutionized  keramic  decoration. 

The  '  Visitors '  not  already  referred  to  are  : 

i.  PAT.[RICK  JOHN]  MCMORLAND,  or  MCMORELAND,  a  versatile  artist  who  at 
this  date  dwelt  in  Cases  Street,  Clayton  Square.  In  1790  he  was  in  Greenland 
Street.  I  find  evidence  that  he  was  in  Liverpool  from  1781.  In  1774-7  he  was 
in  Manchester.  He  exhibited  six  miniatures  at  the  Society  of  Artists  in  1774 
and  1775.  In  1776  he  showed  two  miniatures  at  the  Royal  Academy,  and  he 
was  again  an  exhibitor  there  in  1777,  1779, 1781,  and  1782;  in  1786  he  executed  a 
small  stipple  engraving  of  the  Rev.  Samuel  Medley,  a  Liverpool  Baptist  minister. 
To  each  of  the  1784  and  1787  Liverpool  exhibitions  he  sent  ten  exhibits,  chiefly 
miniatures.  There  were  also  '  tinted  '  and  '  stained '  sketches  :  landscapes,  sea- 
scapes, Italian  views,  &c.  Mayer  says  McMorland  was  a  'painter  on  (sic)  enamel 
of  great  skill',  and  that  'he  executed  mezzotints  in  collaboration  with  Paul  Sandby, 
R.A.,  and  other  frequenters  of  the  Bootle  Coffee  House — a  favourite  resort  of 
London  artists  spending  their  holiday  in  the  north  '.  This  is  in  two  respects  a 
very  illuminating  piece  of  information.  That  Bootle  should  be  a  favourite  resort 
of  artists  from  London  is  not  surprising  (except  for  its  remoteness),  for  in  the 
eighteenth  century  it  was  a  favourite  place  for  sea-bathing :  a  fact  almost  in- 
credible to  those  who  know  it  now  as  part  of  the  port  of  Liverpool,  wholly  given 
over  to  docks,  warehouses,  and  a  dense  and  rather  dingy  mass  of  appropriate 
dwelling-houses.  Sandby,  who  had  travelled  all  over  the  country,  was  a  likely 
visitor ;  it  is  a  pity  we  have  little-  information  as  to  his  associates.  It  may  be 
that,  later,  they  included  Turner,  who,  according  to  local  legend,  came  to  the 
near  region  of  the  Wirral  to  observe  the  sunsets,  considered  by  natives  to  be 
vastly  superior  to  anything  of  the  kind  exhibited  elsewhere.  I  only  know  of 
McMorland  and  John  Leigh  Phillips  of  Manchester. 

The  second  point  is  the  more  important.  We  have  here  evidence  that  Paul 
Sandby  was  in  touch  with  the  Liverpool  artists.  So  far  as  I  know,  he  did  not 
use  the  mezzotint  process  of  engraving.  He  was,  however,  an  etcher  and  a 
pioneer  in  aquatint. 

In  Bryan's  Dictionary  it  is  stated  that  '  he  was,  perhaps,  the  first  English 
artist  who  adopted  this  style,  the  secret  of  which,  it  is  said,  was  brought  into 


78  LIVERPOOL  ART  AND  ARTISTS 

England  by  the  Hon.  Charles  Greville,  who  purchased  it  from  Le  Prince,  a 
French  artist,  and  communicated  it  to  Paul  Sandby'.     It  is  also  claimed  for 
Sandby,  as  we  know,  that  he  was  the  inventor  of  the  variation  on  Le  Prince's 
method,  of  applying  the  resin  to  the  plate  in  solution,  instead  of  as  dust.    I  have, 
under  the  head  of  P.  P.  Burdett,  shown  that  he  was  stated,  with  the  aid  of 
S.  Chubbard,  to  have  invented  the  process,  with  evidence  of  the  most  conclu- 
sive kind  that  he  exhibited  specimens  of  his  work  in  1772  and  1773,  his  descrip- 
tion of  the  exhibits  showing  not  only  that  he  was  the  independent  inventor  of 
his  method,  but  that  he  '  wrought  chemically ',  which  satisfies  me  that  his  was 
the  spirit  method,  for  the  dust  method  could  not,  with  equal  propriety,  be  so 
described,  and  the  subsequent  biting  of  the  plate  with  acid,  being  a  common- 
place of  the  etcher's  art,  would  not  have  been  so  indicated   by  him.     The 
disappearance  of  Burdett's  name  after  1773  suggests  that  he  died  soon  after — 
unless  he  was  the  '  ingenious  and  spirited  gentleman '  who  went  to  Germany, 
which  I  think  by  no  means  improbable,  as  Mayer  in  his  History  of  the  Art  of 
Pottery  in  Liverpool  (1855)  quotes  a  letter  addressed  by  Burdett  on  February  21, 
1773,  to  the  King  of  Prussia,  Frederick  II  (the  'Great'),  offering  to  the  Berlin 
'  fabric '  his  discovery  of  '  a  new,  expeditious  and  beautiful  manner  of  engraving 
upon  copper  so  as  to  make  impressions  transferable  to  porcelain,  and  which, 
when  vitrified,  resemble  and  equal  the  most  delicate  paintings '.     The  letter  is 
reprinted  apropos  of  nothing  in  particular,  and  no  information  is  given  as  to 
what  followed.     In  a  letter  from  Wright  of  Derby  to  his  sister  (which  Bemrose 
dates  arc.  1775-6)  he  wrote :  '  Burdett's  tour  to  France  proves  highly  advan- 
tageous to  him.     He  is  to  etch  plates  for  Wedgwood  and  Bentley  to  be  printed 
upon  their  ware — an  employ  that  will,  in  all  probability,  last  him  for  life — by 
which  he  will  or  may  make  four  or  six  hundred  a  year '.    Bemrose's  dates  are 
sometimes  wrong,  and  in  this  instance  he  seems  to  be  in  error,  as  Burdett's 
only  engagement  with  Wedgwood  was  in,  or  before,  1773,  and  it  speedily  came 
to  an  end,  as  he  failed  to  satisfy  Wedgwood  with  his  '  new  style  of  engraving ', 
which  he  had  promised  to  introduce  :  was  it  aquatint,  which  in  practice  he  had 
failed  to  apply  successfully  to  keramic  decoration?    I  think  so.     In  another 
letter  from  Wright  (to  his  brother  Richard)  dated  April  13,  1774,  he  said  :  '  I  have 
just  received  a  letter  from  Mr.  Tate  of  Liverpool,  where  he  tells  me  Mr.  Burdett 
has  sold  up  his  goods  and  is  off.     Mrs.  Burdett  and  her  dear  Miss  Fredried  are 
gone  into  lodgings,  over  head  and  ears  in  debt '.   Thus  exit,  so  far  as  my  present 
knowledge  extends,  the  versatile  Peter  Perez  Burdett.  Paul  Sandby  first  exhibited 
an  engraving  'in  aquatinta'  at  the  Royal  Academy  in  1777,  and  there  is  no 
evidence  that  he  showed  anything  of  the  kind  at  the  Society  of  Artists  or  the 
Free  Society.     For  convenience,  I  have  relied  upon  Mr.  Graves's  analyses, 
which  are  as  infallibly  correct  as  can  be  expected  of  any  human  performance. 
Although  I  hold  a  brief  for  Liverpool  artists,  I  think  it  will  be  allowed  that  I  am 


PLATE   XXX 


r 


_ 
_ 


M 

_ 
R 

7 


H 
M 

_ 


OS 
H 

a 
u. 

0 


S 


I 


IN   THE   EIGHTEENTH   CENTURY  79 

justified  in  claiming  that  Burdett  certainly  practised  aquatint  before  Sandby, 
and  that  in  all  probability  he  communicated  his  secret  to  Sandby,  who  used  it, 
and  applied  to  it  the  name  of  Le  Prince's  dust  method. 

2.  [FAITHFUL]  CHRISTOPHER  PACK.    This  was  a  bird  of  passage  :  a  Norwich 
man,  son  of  a  Quaker  merchant,  born  about  1759,  who,  being  unsuccessful  in 
business,  took  to  art.    An  introduction  to  Sir  Joshua  Reynolds  about  1781 
resulted  in  his  employment  in  that  artist's  studio.    His  health  being  impaired  he 
returned  to  Norwich,  and  thence  he  went  to  Liverpool.     In  or  before  1786, 
he  returned  for  a  while  to  London,  exhibiting  portraits  at  the  Royal  Academy 
in  that  year  and  1787.    Next  he  went  to  Dublin,  where  he  practised  with  success 
as  a  portrait-painter.      In   1796  he  was  back  in  London,  and  exhibited  two 
portraits,  a  subject  picture,  and  a  landscape  at  the  Royal  Academy.    Then  he 
went  to  Bath,  and  in  1802  he  returned  to  Ireland,  where  he  remained  till  about 
1821.     In  1822  he  was  in  London  and  showed  at  the  Royal  Academy  a  portrait 
of  an  Irish  centenarian ;  and  in  1840  (in  which  year  he  probably  died)  a  portrait 
of  himself  painted  fifty-three  years  earlier,  and  a  '  Contemplation '.     At  the 
British  Institution  Pack  exhibited  eleven  pictures,  chiefly  landscapes,  in  1825, 
1826,  1830,  1837,  and  1839,  giving  London  addresses.     Willis  (Secretary  of  the 
British  Institution),  in  his  Current  Notes  (1857),  says  many  pictures  alleged  to 
be  the  work  of  Reynolds  were  painted  by  Pack.     The  only  good  memoir  of 
Pack  known  to  me  is  in  Mr.  W.  G.  Strickland's  Dictionary  of  Irish  Artists.    At 
Liverpool  in  1784  Pack  showed  nine  portraits,  including  Miss  Phillips  in  the 
character  of  '  Miranda',  and  two  landscapes. 

3.  JOHN  WILLIAMSON.     A  portrait-painter,  who  was  born  at  Ripon  in  1751, 
worked  for  some  time  at  Birmingham  as  decorator  at  a  japanning  works,  resided 
in  Liverpool  in  1783  (probably  earlier),  and  continued  there  until  his  death  on 
May  27,  1818.     He  was  married  in  1781,  and  had  two  sons  and  four  daughters. 
The  sons  Samuel  and  Daniel  were  both  landscape  artists,  the  former  attaining 
to  considerable  distinction.     The  son  of  Daniel  (Daniel  Alexander  Williamson) 
was  also  a  distinguished  landscapist.     In  1784  John  Williamson  exhibited  three 
portraits,  two  single-figure  subjects,  and  a  landscape;  in  1787,  five  portraits.    He 
was  a  member  of  the  Liverpool  Academy  from  its  formation  in  1810. 

After  what  was  apparently  a  satisfactory  winter's  work  by  the  students  of 
the  Society,  it  was  decided  to  hold  an  exhibition  in  September  1784,  the  principal 
intention  of  it  being  '  to  lay  before  the  Public  the  result  of  their  studies ;  but  as 
these  wou'd  not  be  sufficient  to  furnish  an  entertainment  to  the  Public  at  large, 
the  artists  who  have  had  the  direction  of  the  practical  business  of  the  Society 
have  agreed  to  unite  their  endeavours,  to  render  it  more  worthy  of  general 
approbation '.  The  Exhibition  was  further  strengthened  by  exhibits  from  London : 
'  amongst  others,  the  illustrious  PRESIDENT  of  the  ROYAL  ACADEMY  has  not 
thought  it  improper  to  favour  the  Societ}'  with  his  performances ;  a  circumstance 


8o  LIVERPOOL  ART  AND  ARTISTS 

which,  whilst  it  dignifies  this  undertaking,  reflects  the  highest  honour  on  his 
candor  (sic),  and  politeness '. 

There  were  213  exhibits  (inaccurately  numbered  as  206),  of  which  thirty-one 
were  contributed  by  Londoners,  viz. : 

1.  George  Barrett,  R.  A., 'late  of  London'.        .        .  .2 

2.  J.  Cleveley       ....  .       i 

3.  H.  Fuseli .  -i 

4.  T.  Hearne .2 

5.  P.  Holland i 

6.  William  Marlow,  F.S.A .  .      i 

7.  Sir  Joshua  Reynolds.     (Portrait  of  Colonel  Tarleton,  and  view  on  the 

Thames  from  Richmond) 2 

8.  Paul  Sandby,  R.A .12 

9.  Thomas  Sandby .  i 

10.  Dominick  Serres,  R.A i 

11.  C.  Shirriff .       i 

12.  Thomas  Stothard 2 

13.  William  Watts,  engraver i 

14.  Mrs.  Zucchi  (Angelica  Kauffmann) i 

15.  A.  Callander  (Honorary) .2 

3i 
Other  outsiders  were : 

1.  Miss  Gartside,  Manchester 4 

2.  Mr.  Haultier,  Chester i 

3.  Jas.  Lambert,  Lewes,  Sussex i 

4.  Pere  (?  Pere)  Phillips,  late  of  Brussels i 

5.  Samuel  Stringer,  Knutsford  (lately  dead) 8 

6.  Daniel  Stringer,  Knutsford 6 

7.  Joseph  Wright,  F.S.A.,  Derby .7 

8.  James  Bolton,  near  Halifax  (Honorary) .2 

3° 

Of  the  remaining  152  exhibits,  thirty-five  were  statues,  busts,  masks,  and 
bas-reliefs ;  no  doubt  the  Society's  collection  of  casts  for  the  use  of  students. 
These  seem  to  have  been  shown  in  the  '  smaller  room  below ',  which  was  adorned 
with  '  Drawings  by  the  students,  Specimens  of  needlework,  &c.' 

These,  the  ostensible  motif  of  the  exhibition,  were  apparently  not  considered 
worthy  of  being  catalogued,  which  is  unfortunate,  as  the  list  might  have  furnished 
some  information  about  the  artists  practising  in  Liverpool  near  the  end  of  the 
century.  The  117  local  exhibits  were  by  the  following  : 

1.  Richard  Caddick,  Old  Hall  Street,  portraits 3 

2.  Thomas  Chubbard,  Williamson's  Square,  portraits  and  landscapes    .        .        .12 

3.  T.  Deare,  London,  sculpture  (included  here  because  the  Deares  belonged  to 

Liverpool) 4 


PLATE  XXXI 


• 


• 


/../. 


(a)      THE    LIVERPOOL    LIBRARY    AND    ACADEMY 
Drawn  by  Charles  Eyes,  1799 


(b)      JOSEPH  BROOKS,  TREASURER  OF  THE  PARISH  OF  LIVERPOOL 
BY    RICHARD   CADDICK,    1774 
Size  of  picture  86  x  59  in. 
In  the  Board  Room  of  the  Select  Vestry  of  Liverpool 


IN  THE  EIGHTEENTH   CENTURY  81 

4.  William  Jackson,  marines 2 

5.  Miss  Knipe,  miniature  and  flowerpiece 2 

6.  Patrick  McMorland,  miniatures  and  landscapes 10 

7.  Christopher  Pack,  portraits  and  landscapes n 

8.  John  Pennington,  student,  portrait .        .        .  i 

9.  Joseph  Perry,  marines 3 

10.  William  Tate,  F.S.A .  10 

n.  Richard  Town,  portraits  of  two  children       ....                .        .        .  i 

12.  J.  G.  Williams,  still  life  and  landscape 2 

13.  John  Williamson,  18  Temple  Street,  portraits,  genre,  and  landscape  ...  6 

14.  W.  Woodworth,  still  life i 

15.  Otwell  Worrall,  portrait i 

69 

'  Honorary '  Exhibitors. 

1.  Miss  Blackburne,  pencil  drawings  (? copies).        ...  ...  3 

2.  Miss  Costard,  crayons,  copies 3 

3.  Miss  Crevey,  pencil  drawings 3 

4.  D.  Daulby,  chalk 2 

5.  Miss  J.  Earle,  chalk  copy i 

6.  C.  Eyes,  surveyor,  plan  of  the  town  and  township i 

7.  Samuel  Medley,  jun.,  dead  birds i 

8.  Miss  E.  Palmer,  tinted  landscapes 2 

9.  W.  Roscoe,  portrait  and  'boy  sleeping',  in  crayons     .  .  .        .  2 

10.  Miss  Sibbald,  landscape i 

11.  Mrs.  Ann  Tarleton,  figure  subjects  and  landscapes  (? copies)       ....  4 

12.  Late  Mr.  William  Tarleton,  landscapes  in  Indian  ink 2 

13.  Miss  Tate,  landscape  after  P.  Sandby I 

14.  Richard  Tate,  chalks  and  pencil    ....                .                ...  3 

15.  T.  M.  Tate,  landscape,  after  Wright  of  Derby      .        .  .  -4 

16.  Paul  Tate,  a  head  in  chalks .        .  i 

17.  Miss  Trafford,  Leyland,  'The  Tragic  Muse'  (? after  Reynolds)  i 

18.  Miss  Turner,  figures  and  heads  in  chalks  and  pencil 13 

48 

Several  of  the  above-named  Liverpool  artists  have  already  been  referred  to  ; 
in  regard  to  the  others  I  have  to  note  as  follows  : 

3.  THOMAS  DEARE.  This  was  almost  certainly  John  Deare  (son  of  Thomas 
Deare  of  Temple  Street),  born  October  26,  1759,  died  in  Rome,  August  17,  1798. 
As  to  Thomas  Deare,  I  find  that  in  1760  Thomas  Deare  &  Co.,  potters,  adver- 
tised their  'pot  house'  in  Patrick's  Hill  (now  Great  Crosshall  Street),  which 
owed  its  name  to  a  cross  said  to  mark  a  spot  where  the  Irish  saint  preached. 
From  1769  to  1781  Thomas  Deare  was  a  silversmith  and  miniature-painter  in 
Castle  Street,  and  at  the  latter  date  (when  he  was  described  as  'Goldsmith, 
jeweller,  and  tax-gatherer')  there  was  a  surgeon  of  the  same  name  in  Dale 
Street.  From  1790  to  1803  Thomas  Deare,  pot-ash  maker,  was  at  i  Temple 

VI.  M 


82  LIVERPOOL  ART  AND  ARTISTS 

Street  and  Mile  (?  Mill)  Lane.  Finally,  in  1816, Thomas  Deare,  gentleman,  abode 
at  i  Virgil  Street.  Which  was  which  I  cannot  say,  but  probably  the  Thomas 
Deare  of  1760  was  father  of  John,  and  Thomas  the  silversmith  and  miniature- 
painter  of  1769  was  his  brother.  He  may  eventually  have  dropped  art  in  favour 
of  potash  in  1790,  or  this  may  have  been  a  Thomas  of  the  third  generation. 
However,  whether  he  were  one  or  a  trinity,  we  know  no  more  about  Thomas 
than  that  the  jeweller  and  tax-collector  had  a  son  named  John,  who,  at  the  age 
of  sixteen,  was  apprenticed  to  Thomas  Carter  of  101  Piccadilly,  London,  and 
Chelsea,  a  sculptor-mason,  for  whom  he  carved  mantelpieces,  &c.  He  won 
a  gold  medal  in  1780  at  the  Royal  Academy  for  the  design  afterwards  exhibited 
in  1784  at  Liverpool:  'Adam  and  Eve,  from  the  4th  book  of  Paradise  Lost, 
a  bas-relief.'  His  other  exhibits  were  a  terra-cotta  crucifix,  '  Bellerophon, 
a  model',  and  'Virginius  and  his  daughter,  a  cast'.  In  1785  Deare  was 
granted  a  travelling  allowance  by  the  Royal  Academy.  He  went  to  Rome  and 
prospered  there.  His  premature  death  in  1798  has  been  the  subject  of  various 
legends,  such  as  that  the  general  of  the  French  invading  army  fell  in  love  with 
Deare's  beautiful  wife,  and,  to  get  him  out  of  the  way,  cast  him  into  prison, 
where  he  died.  Another  was  to  the  effect  that,  having  obtained  a  very  fine 
block  of  marble,  he  was  so  much  in  love  with  it  that,  in  order  to  promote 
inspiration,  he  slept  on  it  at  night  and  so  caught  a  fatal  chill.  He  was  buried 
near  the  Pyramid  of  Caius  Cestius  at  Rome.  Deare  was  a  sculptor  of  great 
merit,  but  his  works  are  little  known  in  this  country,  as  most  of  them  were  sold 
to  French  and  Italian  connoisseurs.  In  1788  he  showed  at  the  Royal  Academy 
'  Edward  I  and  Queen  Elenor  (sic) '.  The  marble  of  this  is  now  at  Ince-Blundell 
Hall,  and  the  Liverpool  Gallery  has  it  in  plaster.  In  1791  there  was  shown  at  the 
Society  of  Artists  Exhibition  in  London  a  marble  bas-relief,  '  Liberality  supported 
by  Justice  and  Fortitude',  which  was,  I  think,  by  this  artist,  although  the  name 
is  given  as  '-  -  Deer '.  John  Deare  had  two  brothers— Joseph,  a  merchant,  and 
Edward,  an  attorney.  The  latter  had  a  son,  Joseph,  born  about  1796,  who  became 
a  painter  and  sculptor.  Like  his  uncle  he  went  to  London,  where  he  won  a  gold 
medal  in  1825  for  a  sculptural  group,  'David  and  Goliah'  (sic),  which  was  in  the 
1826  Royal  Academy  exhibition.  The  plaster  of  this  is  also  at  Liverpool.  Deare 
was  then  at  12  Great  St.  Helens,  Bishopsgate.  He  continued  at  various  London 
addresses  (though  retaining  a  connexion  with  Liverpool),  and  in  1828,  '9,  and  '30 
showed  portrait  busts.  In  1831  appeared  his  historical  group  'Virginius  and 
Virginia'.  Thereafter  in  1831  and  1832  he  showed  more  portrait  busts.  In  the 
latter  year  he  seems  to  have  returned  to  Liverpool :  on  Friday,  August  5,  1836, 
he  died  there  as  the  result  of  an  accident  in  trying  to  get  into  his  house  late 
at  night,  when  unprovided  with  a  latch-key. 

5.  Miss  KNIPE  was  an  artist  and  teacher  of  drawing  in  Liverpool. 

9.  JOSEPH  PERRY.     Mayer  thought  he  was  a  surgeon.     A  George  Perry 


IN   THE   EIGHTEENTH   CENTURY  83 

collected  materials  for  a  History  of  Liverpool,  which  was  afterwards  published 
by  Dr.  Enfield.  There  was  also  a  George  Perry  (not  necessarily  the  same)  who 
produced,  with  John  Eyes,  two  maps  of  Liverpool  in  1768  and  1769. 

11.  RICHARD  TOWN.     This  man,  whose  baptismal  name  was  apparently 
Robert,  not  Richard,  is  chiefly  of  interest  as  probably  the  father  of  the  distin- 
guished animal  painter,  Charles  Towne;  at  least  Mayer  says  so,  but  I  have 
found  no  positive  evidence  on  the  subject,  although  I  devoted  considerable  time 
to  the  inquiry  when  preparing  a  short  biography  of  that  artist  for  Bryan's 
Dictionary  (1905,  vol.  v,  p.  200).     I  have  not  traced  any  Richard  Town  in  the 
old  directories,  but  in  1790  I  find  'Robert  Town,  painter  and  gilder',  3  Hales 
Street.     In  1796  he  was  at  no.  4,  in  1803  at  no.  13.     Presumably  it  was  this 
Robert  Town,  painter,  who  married  Agnes  Willey  at  St.  George's  Church 
April  23,  1781.    I  shall  return  later  to  Charles  Towne. 

12.  J.  G.  WILLIAMS.    )   T  . 

„,  „,  II  know  nothing  as  to  these  exhibitors. 

14.    W.   WOODWORTH.  J 

Of  the  Honorary  Exhibitors  little  need  be  said  : 

i.  Miss  BLACKBURNE  was  probably  a  member  of  a  well-known  local  family, 
perhaps  a  student.  Mayer  says  she  was  a  botanical  enthusiast. 

3.  Miss  CREVEY  (sic),  sister  of  Thomas  Creevey,  M.P.,  and  daughter  of 
Captain  William  Creevey  of  School  Lane.  She  is  mentioned  in  The  Creevey 
Papers.  Born  1765,  died  July  30,  1835. 

5.  Miss  J.  EARLE.    A  merchant's  daughter,  and  pupil  of  McMorland. 

7.  SAMUEL  MEDLEY,  JUNIOR.  Mayer  thought  he  might  be  son  of  an  animal 
painter  of  the  same  name.  I  think  his  father  was  the  Rev.  Samuel  Medley, 
Baptist  minister  of  Liverpool  (1738-99),  whose  Memoirs  (1800),  compiled  by 
his  son,  have  as  frontispiece  an  excellent  portrait  ('  S.  Medley  pinx' ')  engraved 
by  Isaac  Taylor.  Another  good  portrait  by  the  same  artist  was  engraved  in  line 
in  1793  byj.  Fittler.  Medley,  jun.  (who  was  born  in  1769),  removed  to  London 
in  or  before  1792,  in  which  year  he  began  to  exhibit  at  the  R.  A.  From  that 
date  to  1805  he  showed  twenty-seven  pictures  there.  According  to  Bryan's 
Dictionary  (vol.  iii,  p.  313,  1904),  which  describes  Medley  as  'a  follower  of 
Reynolds  and  Gainsborough',  he  abandoned  art  in  1811  under  medical  advice, 
but  lived  until  1856.  He  died  rich,  having  made  a  fortune  as  a  stockbroker. 
One  of  his  grandsons  was  Sir  Henry  Thompson,  the  celebrated  surgeon. 

11.  MRS.  ANN  TARLETON.  )  „,,  ,  r     ., 

TI.     _  \  These  belonged  to  another  notable  local  family. 

12.  Late  WM.  TARLETON.  J 

18.  Miss  TURNER.     No  doubt  daughter  of  Dr.  Matthew  Turner. 

I  have  not  found  any  evidence  as  to  the  success  of  the  exhibition  or  any 
opinion  as  to  its  merit.  The  building  in  John  Street  in  which  the  1774  exhibition 
was  held,  and  in  which  the  Society  had  its  classes,  has  long  since  disappeared,  but 
I  have  been  fortunate  in  finding  an  outline  first-floor  plan  and  elevation  of  it  made 

M  2 


84  LIVERPOOL  ART  AND  ARTISTS 

by  Charles  Eyes  in  1799.  The  exhibition  room  was  on  the  first  floor,  and  measured 
32-5  x  14-2  feet,  and  its  lighting  must  have  been  rather  unsatisfactory,  even  if 
the  upper  stories  were  shallow  enough  to  admit  of  a  top  light  at  the  end  farther 
from  the  street.  In  1799  the  two  sides  of  the  building  were  occupied  as  dwelling- 
houses.  It  was  situated  on  the  east  side  of  [North]  John  Street,  near  Cook 
Street.  The  building  now  on  the  site  is  numbered  14.  From  the  particulars 
given,  the  room  was  obviously  not  good  for  exhibition  purposes,  which  accounts 
for  the  1784  exhibition  not  being  held  there  but  at  a  house  in  Rodney  Street 
(now  No.  35). 

There  was  no  further  exhibition  for  three  years,  but  the  Society  continued 
its  work,  and  in  1787  it  made  its  second  and  final  effort  not  only  to  'excite  the 
emulation  of  their  students,  but  conciliate  the  favor  of  the  Public  towards  their 
Institution '.  This  exhibition  was  held  in  the  premises  of  the  Liverpool  Library, 
No.  13  Lord  Street  (the  site  is  now  No.  47),  where  there  was  a  top-light. 

The  catalogue  motto,  'Magnis  favor  ortus  ab  ausis,  Val.  Flac.',  carries 
a  suggestion  that  the  Society  was  pleased  with  the  result  of  its  past  work.  The 
officers,  committee,  and  visitors  for  the  year  were  as  follows  : 

1.  Nicholas  Ashton,  President. 

2.  Thomas  Wakefield,  Vice- President. 

3.  Thomas  Taylor,  Secretary. 

Committee.  Visitors. 

4.  Daniel  Daulby.  10.  Thomas  Chubbard. 

5.  Charles  Eyes.  n.  Peter  Holland. 

6.  James  Garnett.  12.  Patrick  McMorland. 

7.  Edward  Rogers.  13.  William  Tate. 

8.  William  Roscoe.  14.  John  Williamson. 

9.  Matthew  Turner. 

The  majority  of  these  have  already  been  noticed.  Of  the  others  I  can 
report  little : 

1.  NICHOLAS  ASHTON.     According  to  Mayer,  a  member  of  a  very  old  local 
family,  which  held  a  high  position  in  trade  and  in  '  the  county '.    Nicholas  made 
his  fortune  in  trade  in  the  borough  (his  address  was  18  Clayton  Square),  and 
afterwards  lived  at  Woolton  Hall.     He  served  as  high  sheriff  in  1770.     Thomas 
Hargreaves  painted  his  portrait  in  miniature.     He  was  a  friend  of  Roscoe,  and 
took  a  leading  part  in  securing  his  return  to  Parliament  in  1806.     He  died  in 
J833,  aged  ninety-one.     He  was,  I  conjecture,  chosen  as  president  because  of 
his  wealth  and  his  possibilities  as  art  patron.     It  may  be  noted,  however,  that 
among  the  'honorary'  exhibitors  we  find  Miss  Ashton,  who  showed  two  land- 
scapes, tinted  drawings,  and  Master  Ashton,  who  contributed  eight  landscapes 
in  chalk. 

2.  THOMAS  WAKEFIELD.     A  merchant,  who  resided  in  Smithdown  Lane. 


IN  THE  EIGHTEENTH   CENTURY  "85 

His  firm  was  styled  Wakefield  and  Okill,  and  they  had  a  sugar-house  at 
4  Preeson's  Row. 

6.  JAMES  GARNETT.     A  merchant,  whose  address  was  8  St.  Paul's  Square. 

.7.  EDWARD  ROGERS.  Merchant,  Everton.  A  man  of  good  public  spirit, 
one  of  the  founders  (in  1797)  of  the  Liverpool  'Athenaeum  '. 

ii.  PETER  HOLLAND.  This  exhibitor  was  among  the  contributors  from 
London  in  1784.  He  was  now  at  Tarleton  Street,  Liverpool.  His  exhibits 
were  two  portraits,  a  portrait  miniature,  and  a  landscape.  At  the  Royal 
Academy  he  had  shown  two  portraits  in  1781  and  three  in  1782.  His  next  and 
last  exhibit  there  was  in  1793,  when  his  address  was  'Liverpool',  his  exhibits 
being  two  landscapes  of  Cumberland  subjects.  In  1810  he  was  first  vice- 
president  of  the  newly-formed  Liverpool  Academy.  After  1811  he  was  not 
a  member,  but  he  exhibited  again  in  1812,  after  which  I  have  no  trace  of  him. 
His  latest  address  was  St.  Anne  Street.  In  the  absence  of  any  knowledge 
regarding  Peter  Holland's  life  and  productions,  I  venture  a  conjecture  that  he 
may  originally  have  come  to  Liverpool  in  connexion  with  the  potteries,  and  from 
the  Burslem  district,  where  there  was  a  family  of  Hollands,  one  of  whom,  the 
well-known  James  Holland,  was  born  at  Burslem  and  originally  worked  as 
a  china  painter. 

The  exhibition  was  numerically  a  smaller  one  than  that  of  1784,  there  being 
140  exhibits  as  compared  with  178  (exclusive  of  casts).  The  works  from  London 
were  twice  as  many  as  before  : 

1.  S.  Alkin .  .        .      2 

2.  W.  Beechy  (Sir  W.  Beechey) .        .      i 

3.  W.  R.  Bigg     ...  .2 

4.  S.  Elmer,  A.R.A .2 

5.  Joseph  Farrington  (sic),  R.A .5 

6.  H.  Fuseli .3 

7.  T.  Gainsborough,  R.A .2 

8.  S.  Gilpin i 

9.  W.  Hamilton .5 

10.  S.  Harding .6 

n.  T.  Hearne .3 

12.  T.  Malton,  junior 7 

13.  T.  Mitchell .  .      2 

14.  W.  Parry,  A.R.A.     .....  .2 

15.  R.  M.  Paye .      i 

16.  Rev.  Mr.  Peters i 

17.  Sir  Joshua  Reynolds,  P.R.A.,  '  The  Death  of  Dido '     .  .      i 

18.  Paul  Sandby,  R.A .3 

19.  W.  Sharp .  .      i 

20.  George  Stubbs,  A.R.A.,  Harvest  Scenes :— '  Reapers,'  '  Haymakers' '  2 

1  These  were  probably  the  pictures  shown,  Plate  XXI. 


86  LIVERPOOL  ART  AND  ARTISTS 

21.  W.  Tomkins,  A.R.A '   .        .  .      2 

22.  T.  Walmsley,  scene  painter ,.      i 

23.  J.  Webber,  A.R.A * .  .     .      i 

24.  F.  Wheatley .-2 

.      •  58 

The  contributions  of  the  '  outlanders '  were  26  as  compared  with  30 : 

1.  W.  Craig,  Manchester 4 

2.  R.  Home,  Dublin i 

3.  Carlo  Labruzzi  (no  address) i 

4.  Samuel  Medley,  junior,  Birmingham 5 

5.  W.  Stavely,  York i 

6.  T.  Stringer,  Knutsford i 

7.  D.  Stringer,        do. i 

8.  W.  Tate,  Manchester,  'Abraham  and  Isaac  ',  and  two  portrait  subjects       .  3 

9.  J.  Wright,  Derby 5 

10.  Angelica  Zucchi,  Rome 2 

11.  W.  Burnthwaite,  Ulverstone  (honorary) 2 

26 

The  local  contributors  show  a  very  marked  shrinkage,  ominous  as  to  the 
future.  Thirteen  professional  artists  showed  46  works  instead  of  69  by  fifteen ; 
and  the  'honorary'  exhibits  had  dropped  from  48  to  10.  The  catalogue  makes 
no  reference  to  students'  work : 

1.  T.  Chubbard,  Shaw  Place,  portraits  and  landscapes 7 

2.  T.  Hazlehurst,  32  Hurst  Street,  nine  miniatures  in  a  frame          .        .        .  i 

3.  P.  Holland,  Tarleton  Street   .        . 4 

4.  W.  Jackson,  landscape i 

5.  Edward  Kennion,  animals  in  landscape 2 

6.  Eliza  Knipe,  John  Street,  miniatures  and  drawings 4 

7.  —  Moore,  a  fancy  sketch i 

8.  P.  McMorland,  Cases  Street,  miniatures  and  stained  portrait  sketches        ..  10 

9.  Joseph  Parry,  landscapes 4 

10.  W.  Place,  a  seapiece i 

11.  C.  Town,  5  Hale  Street,  landscape i 

12.  W.  Woodworth,  portraits 5 

13.  J.  Williamson,  St.  Paul's  Square,  portraits 5 

46 
Honorary. 

14.  Miss  Ashton i 

15.  Master  Ashton i 

16.  Miss  Tate 2 

17.  T.  M.  Tate 3 

18.  Miss  Trafford,  Leyland 3 

10 


IN  THE  EIGHTEENTH   CENTURY  87 

Regarding  these  eighteen  exhibitors,  so  far  as  not  already  dealt  with,  I  have  the 
following  information  : 

2.  T(HOMAS)  HAZLEHURST,  an  excellent  miniaturist,  of  whom  little  is  known, 
said  to  have  been  a  pupil  of  Reynolds.  According  to  Bryan's  Dictionary 
he  practised  in  Liverpool  from  1760  to  1818.  He  probably  died  in  1821.  In 
the  catalogue  of  the  portion  of  Joseph  Mayer's  Collection  sold  in  Liverpool 
December  15,  1887,  I  find  (no.  153):  '  Scribbleriana,  by  Thomas  Hazlehurst, 
miniature  painter,  with  a  number  of  clever  sketches  interspersed.'  I  do  not 
know  where  it  now  is,  and  would  be  glad  to  hear  of  it.  Hazlehurst  (Rodney 
Street)  showed  miniatures  at  the  Liverpool  Academy  Exhibitions  of  1810,  1811, 
and  1812.  The  highly  finished  art  of  Hazlehurst  is  sometimes  confused  with 
that  of  THOMAS  HARGREAVES,  also  of  Liverpool,  the  fact  that  their  initials  were 
the  same  being  contributory.  I  believe  that  while  Hazlehurst  usually  signed 
his  miniatures,  Hargreaves  did  not,  as  a  rule,  do  so.  The  latter  was  considerably 
younger,  having  been  born  in  Liverpool  in  1773.  He  was  a  pupil-apprentice  of 
Sir  Thomas  Lawrence,  whose  manner  he  copied.  He  exhibited  three  portraits 
(?  miniatures)  at  the  Royal  Academy  in  1798,  his  address  being  10  Leicester 
Street,  London.  Thereafter  he  left  London,  probably  because  of  ill  health,  and 
returned  to  Liverpool.  The  first  trace  of  him  there  is  in  1807,  when  he  was  at 
65  Vauxhall  Road.  In  the  following  year  he  sent  a  portrait  to  the  Royal 
Academy,  and  in  1809  five  portraits.  T.  Hargreaves,  of  Woolwich,  exhibited 
portraits  in  1831  and  1843,  but  I  do  not  think  this  was  Thomas  of  Liverpool. 
He  was  an  original  member  of,  and  exhibitor  at,  the  Liverpool  Academy  in 
1810,  and  an  original  member  of  the  Society  of  British  Artists  in  1824.  Three 
of  his  sons  were  miniaturists.  He  died  in  Liverpool  on  January  5,  1847. 

5.  EDWARD  KENNION.  Mayer  knew  nothing  about  this  man.  In  Welsh 
Painters,  by  the  Rev.  T.  Mardy  Rees  (N.  D.),  there  is  a  brief  account  of  him,  from 
which  I  gather  that  he  was  of  Welsh  origin,  grandson  of  a  Nonconformist  (pro- 
bably Unitarian)  minister,  and  born,  in  Liverpool,  January  15,  1743  (old  style, 
i.  e.  1744).  He  was  for  a  time  engaged  in  commercial  pursuits  in  Havannah, 
Jamaica,  and  elsewhere.  In  1789  he  removed  to  London  and  began  to  teach 
drawing.  In  1790  he  was  at  7  Princes  Street,  Leicester  Fields,  was  elected 
Fellow  of  the  Society  of  Artists,  and  sent  twenty-five  pictures  in  nineteen  frames 
to  their  exhibition,  landscape  subjects ;  a  good  many  of  them  studies  of  trees,  in 
which  he  specialized.  Twelve  of  them  were  catalogued  as  intended  for  a  forth- 
coming book  on  Elements  of  Landscape,  but  according  to  Mr.  Rees  he  only 
issued  one  volume  of  it,  and  died  in  1790,  which  is  wrong.  I  find  that  Kennion 
had  five  exhibits  in  1791,  including  a  '  Group  of  Ash  '  for  '  Elements  of  Land- 
scape, No.  Ill ',  which  identifies  him  with  them,  although  his  name  is  given  as 
E.  Kenyon.  Four  years  later  E.  Kennion,  of  51  Charlotte  Street,  exhibited 
three  pictures  at  the  Royal  Academy,  the  subjects  of  two  of  them — 'The  Oak 


88  LIVERPOOL  ART  AND  ARTISTS 

and  Ash '  and  'A  Sketch  of  Oaks ' — suggesting  that  the  exhibitor  was  the  F.S.A. 
This  man  again  showed  two  pictures  in  1796,  two  in  1806,  and  one  in  1807.  In 
or  about  1815  there  was  published  an  essay  by  E.  Kennion  on  Trees  in  Land- 
scape, which  I  think  was  the  work  on  which  he  was  engaged  as  early  as  1790, 
containing  fifty  engraved  illustrative  plates  by  his  son  with  four  others  repro- 
ducing his  pictures,  and  six  etchings  from  nature  by  'Grecian'  Williams.  Had 
Mr.  Rees  consulted  the  memoir  in  this  volume  he  would  have  learned  that  the 
artist  did  not  die  in  1790,  but  on  April  14,  1809.  Of  the  essay  a  critic,  '  Arlunydd 
Penygarn ',  wrote  :  '  He  seems  to  have  devoted  himself  to  the  representation  of 
the  specific  growth  of  trees,  and  gives  studies  of  a  great  number,  sometimes  very 
good,  sometimes  not  so  happy,  but  it  was  a  thing  needed  in  the  art  of  the  time, 
which  in  wood-engraving  Hugh  Hughes  did  so  excellently.'  Kennion's  presence 
in  his  native  town  in  1787,  prior  to  going  to  London,  has  not  hitherto  been 
recorded.  As  evidence  of  identity,  if  any  be  needed,  I  may  mention  that  one  of 
his  exhibits  in  that  year  was  '  A  landscape  with  a  group  of  asses ',  and  at  the 
Society  of  Artists  Exhibition  in  1791  he  showed  'Landscape  with  asses';  while 
the  other  was  '  A  portrait  of  an  old  starting  horse  (an  American  scene) '.  Edward 
Kennion's  son,  Charles  James  Kennion,  also  of  51  Charlotte  Street,  exhibited 
at  the  Royal  Academy  in  1804,  and  thereafter  contributed  from  time  to  time 
until  1853,  showing  in  all  twenty-six  pictures,  chiefly  of  Welsh  landscape 
subjects.  The  publication  of  his  father's  long-meditated  book  was  evidently  due 
to  his  filial  piety. 

7.  MOORE.     Not  identified. 

8.  JOSEPH  PARRY.     Born  in  Liverpool  in  1744.     He  was  apprenticed  to 
a  ship  and  house  painter,  and  having  studied  in  his  leisure  became  a  professional 
artist.     In  1790  he  removed  to  Manchester,  where  he  died  in  1826  after  a 
successful  career.     He  painted  genre  pictures  and  portraits. 

9.  W.  PLACE.     Not  identified. 

ii.  C.  TOWN.  Mayer  was  in  doubt  as  to  whether  or  no  this  was  Charles 
Towne,  the  well-known  painter  of  horses,  cattle,  and  landscape,  which  is  not 
surprising,  as  there  is  practically  nothing  known  about  him  beyond  the  informa- 
tion to  be  gathered  from  catalogues,  which  I  summarized  carefully  in  Bryan's 
Dictionary  (1905,  vol.  v,  p.  200),  and  need  not  repeat  here,  as  Towne's  activities 
were  chiefly  in  the  nineteenth  century.  If,  as  is  stated,  he  died  in  1850,  he  must 
have  been  quite  young  in  1787,  and  the  fact  that  he  only  exhibited  'a  small 
landscape '  agrees  with  this.  On  the  whole,  I  am  disposed  to  decide  that  this 
was  the  first  appearance  of  the  well-known  Charles  Towne,  who  was  son 
(according  to  Mayer)  of  Richard  (or  Robert)  Town,  an  exhibitor  in  1784, 
though  obviously  not  by  the  marriage  in  1781,  of  which  I  have  found 
a  record.  A  significant  piece  of  evidence  is  that  Robert  Town  lived  at  3  Hale 
Street. 


IN  THE   EIGHTEENTH   CENTURY  89 

14  and  15.  Miss  ASHTON  and  MASTER  ASHTON.  No  doubt  children  of  the 
president. 

18.  Miss  TRAFFORD.  Not  identified.  Perhaps  a  daughter  of  Alderman 
Trafford,  a  merchant  in  the  eighteenth  century,  whose  name  survives  in  the 
small  street  known  as  Trafford's  Weint  ( =  Wynd). 

The  Society  for  Promoting  Painting  and  Design  held  no  more  exhibitions 
and,  sooner  or  later,  dwindled  out  of  existence :  I  have  been  unable  to  find  any 
particulars  on  the  subject.  The  times  became  unfavourable  to  the  fine  arts,  and 
after  the  French  Revolution  the  air  was  charged  with  apprehension  and  unrest, 
which  increased  with  the  progress  of  the  Napoleonic  wars.  Ireland  was 
presently  in  a  state  of  rebellion,  and  this  country  passed  through  a  long  period 
of  anxiety  and  financial  depression,  because  of  our  conflicts  with  France.  It 
may  be  that  these  large  causes  had  less  effect  on  the  fortunes  of  the  Society 
than  the  fact  that  William  Roscoe  was  now  busily  occupied  with  researches  for 
his  well-known  historical  books  on  the  Medici.  From  the  first  tentative  effort  in 
1769  to  form  an  Academy,  his  name  had  been  constant  among  those  who  tried 
to  organize  a  strong  art  society  in  Liverpool.  That  interest  did  not  cease,  for 
we  find  Roscoe  again  prominent  when  in  1810  a  more  vigorous  Academy  was 
formed,  which,  in  spite  of  one  or  two  periods  of  inanition,  has  survived  until  the 
present  day,  and  is  now,  if  we  accept  1810  as  its  date  of  origin,  our  oldest  society 
of  artists  out  of  London,  and  only  preceded  in  the  metropolis  by  the  Royal 
Academy  and  the  '  Old '  Water-colour  Society. 

I  hope  hereafter  to  trace  the  history  of  the  Liverpool  Academy  of  Arts  and 
the  annals  of  the  artists,  many  of  them  notable  men,  who  belonged  to  it :  it  is 
a  subject  which  will  prove  more  generally  interesting  than  that  with  which 
I  have  now  dealt.  For  the  present  it  only  remains  to  confess  that  in  regard  to 
the  last  thirteen  years  of  the  eighteenth  century  and  the  decade  that  followed, 
we  know  no  more  than  that  there  were  certain  men  who  have  been  mentioned 
by  me  who  continued  to  practise  the  fine  arts  in  Liverpool,  with  doubtless  others 
whose  names  are  unknown.  I  find,  for  instance,  that  Henry  Pickering,  a 
portrait-painter,  mentioned  in  Redgrave  and  Bryan,  without  any  biographical 
particulars,  was  resident  in  Hunter  Street,  Liverpool,  in  1781  and  1790.  Some 
years  ago  two  portraits  by  him,  of  Thomas  Johnson,  Mayor,  and  his  wife,  came 
under  my  notice,  and  I  identified  them.  They  now  hang  in  the  Liverpool  Town 
Hall  (Plate  xxvm  (a)  and  (%  In  1787  one  of  T.  Chubbard's  exhibits  was 
'A  view  of  the  Lighthouse  on  the  Smalls,  after  a  drawing  by  H.  Pickering  Esq.' 
As  the  city  grew  rapidly  in  size,  importance,  and  wealth,  there  would  be  an 
increased  field  of  patronage  to  which  to  appeal ;  and  the  influence  of  Roscoe 
and  the  men  of  taste  he  gathered  round  him  would  certainly  fertilize  it.  On  the 
other  hand,  the  potteries,  formerly  one  of  the  most  important  local  industries, 
were  declining,  and  the  Liverpool  limners  and  engravers  of  the  eighteenth 

VI.  N 


90  LIVERPOOL  ART  AND   ARTISTS 

century  had  been  extensively  employed  and  encouraged  by  the  potters.  The 
obscurity  surrounding  my  subject  is  its  best  justification.  I  have  referred  to 
ninety-eight  persons  who  practised  or  who  were  interested  in  art  (of  whom  about 
thirty  were  probably  amateurs)  and  I  doubt  if  any  one  outside  of  Liverpool 
has  ever  heard  of  as  many  as  a  dozen  of  these.  Of  the  great  majority,  even 
I,  placed  most  favourably  for  knowing,  can  tell  no  more  than  I  have  set  down ; 
nor  have  I  seen  any  of  their  works.  I  hope  that  the  circulation  of  this  mere 
framework  for  our  local  art  history  among  those  who  are  most  keenly  interested 
in  British  art  in  past  times  may  result  in  many  contributions  of  further  informa- 
tion. If  it  does  I  shall  gladly  avail  myself  of  all  such  further  knowledge.  I  hope, 
also,  that  like-minded  students  in  other  provincial  centres  may  follow  my 
example,  and  that  in  this  way  we  may  gradually  reconstruct  a  more  complete 
art  history  of  our  island,  to  take  the  place  of  the  present  scrappy  and  empirical 
knowledge. 

I  take  the  opportunity,  also,  of  urging  on  those  in  charge  of  art  museums 
throughout  the  country  that  they  should  recognize  it  as  their  first  duty,  if  they 
take  themselves  seriously,  to  form  collections  illustrating  local  artists.  I  do  not 
suggest  any  neglect  of  other  things.  By  all  means  let  us  collect  priceless  fashion- 
able old  masters,  if  rich  enough  to  do  so.  Let  us  also  cater  more  acceptably  for 
the  general  public  who  are  our  real  masters,  and  do  something  to  encourage  the 
best  contemporary  art  by  acquiring  fine  modern  pictures  ;  but  let  us  not  forget 
the  serious  student,  for  whose  benefit,  as  well  as  for  the  information  of  fellow 
citizens,  each  city  and  town  ought  to  be  in  a  position  to  show  what  its  artists 
have  achieved.  Even  minor  men  and  artists  whose  productions  are  not  likely  at 
the  present  time  to  please  should  be  represented.  In  Florence,  one  goes  to  see 
Florentine  pictures ;  in  Venice,  the  Venetians ;  and  so  elsewhere  in  Italy.  It  is 
the  Dutchmen  who  interest  in  Holland,  the  Flemish  in  Belgium,  Velasquez 
and  his  compatriots  at  Madrid.  Even  in  Germany  the  savage  ugliness  of  much 
of  their  native  art  interests  more  than  the  elaborate  collections  from  other 
nations.  The  Cologne  School  at  Cologne  and  the  Hamburg  School  at  Hamburg 
are  examples  of  well-considered  local  collections  not  at  present  available  for 
study.  At  the  latter  city,  my  friend  Professor  Dr.  A.  Lichtwark,  of  whom 
I  can  freely  speak  in  praise  as  he  is  dead,  was  possessed  by  a  wild  enthusiasm 
for  the  achievements  of  the  local  school,  and,  I  believe,  esteemed  them  above 
all  his  other  possessions,  in  spite  of  the  barbarous  and  bourgeois  character  of  the 
greater  part.  He  understood  and  fulfilled  his  duty  as  an  art-director;  let  others 
do  likewise. 

[I  gratefully  acknowledge  the  kind  help  of  a  number  of  friends  and  correspondents 
who  have  materially  helped  me  in  preparing  this  paper,  especially  the  following :  Lord 
Leverhulme  has  kindly  allowed  me  to  reproduce  some  of  the  fine  examples  of  George 
Stubbs's  paintings  on  Wedgwood  panels  now  in  his  possession.  Mr.  Frank  Falkner,  of 


IN  THE   EIGHTEENTH   CENTURY  91 

Manchester,  has  lent  me  blocks  reproducing  works  by  the  Caddicks  and  Thomas  Chubbard. 
The  Rector  of  Liverpool,  the  Rev.  Harold  Bilbrough  (now  Lord  Bishop  of  Dover),  allowed 
me  to  search  the  Liverpool  Parish  Registers ;  Mr.  Henry  Peet  and  Captain  Bostock  have 
lent  me  photographs ;  Sir  Henry  Trueman  Wood,  Secretary  of  the  Royal  Society,  was  at 
great  pains  to  answer  my  inquiries  as  to  matters  touched  on  in  the  Society's  records ; 
Mr.  F.  Williamson,  Curator  at  Derby,  obtained  for  me  a  photograph  of '  The  Orrery" ;  my 
colleague,  Mr.  G.  T.  Shaw,  Chief  Librarian  Liverpool  Public  Library,  and  his  staff  have 
been  helpful  in  many  ways ;  Mr.  Hutt,  Librarian  of  the  Liverpool  Library  (Lyceum),  has 
been  equally  kind ;  and  I  gladly  acknowledge  also  the  enthusiastic  and  valuable  aid  I  have 
received  from  Mr.  Thomas  White.  I  have  already  acknowledged  in  the  text  my  obligations 
to  various  books  and  their  authors  or  compilers.] 


N  2 


92 


LIVERPOOL  ART  AND  ARTISTS 


LIVERPOOL  ARTISTS   DURING  THE   EIGHTEENTH     CENTURY 
WITH    PRINCIPAL    REFERENCES   IN   THIS   ARTICLE 

The  letters  after  the  names  indicate  : — A.  Amateur  or  Connoisseur.  Arch.  Architect.  E.  En- 
graver. En.  Enamel  Painter.  L.  Limner.  M.  Miniaturist.  P.  Painter.  S.  Sculptor.  Sur. 
Surveyor. 


Name  of  Artist. 

See  pages 

Born. 

Died. 

Dates  mentioned. 

Samuel  Alcock. 

71 

1769 

Miss  Ashton.     (A.) 

84,  86,  89 

1787 

Master  Ashton.     (A.) 

84,  86,  89 

1787 

Nicholas  Ashton.     (A.) 

84 

1747 

1833 

John  Baines. 

66 

1769 

Miss  Blackburne.     (A.) 

81,83 

1787 

Henry  Blundell  of  Ince.     (A.) 

76 

1724 

1810 

P.  P.  Burdett,  F.S.A.     (P.,  E.) 

65.  67,  71,  78 

1763.  1774 

Richard  Caddick.     (P.) 

69,  80 

175° 

1823 

William  Caddick.    (P.) 

69 

1719 

1794 

William  Caddick,  junior.     (P.) 

70.  72,  73 

1780 

Thomas  Chaddock,  or  Chadwick.     (L.) 

69 

!755 

Samuel  Chubbard.    (E.) 

67,  78 

1741 

1807 

Thomas  Chubbard.     (P.) 

66,  71.  80,  84,  86,  89 

1738 

1809 

Edward  Clifton.     (L.) 

60 

1714 

1708,  1714 

Miss  Costard. 

81 

1784 

Miss  Crevey,  or  Creevey.     (A.) 

81,83 

1765 

1835 

Thomas  Critchlow. 

71 

1769 

Daniel  Daulby,  junior.     (A.) 

75,  76,  81,  84 

1798 

1774 

John  Deare.     (S.) 

72,  81 

i?59 

1798 

Joseph  Dear(e). 

72 

1769 

Joseph  Deare.     (S.) 

72,82 

1796 

1836 

Thomas  Deare.     (M.) 

80,81 

1766 

Dr.  Matthew  Dobson.    (A.) 

71 

1769 

Joseph  Durand. 

66 

1769 

Miss  J.  Earle.     (A.) 

81,  83 

1784 

Jeremiah  Evans.     (E.) 

60 

1760 

William  Everard.     (A.) 

66 

1769 

Charles  Eyes.     (Arch.) 

71,  81,  84 

J754 

1803 

John  Eyes.     (Arch.) 

71,  83 

*773 

1769 

John  Eyes,  junior.     (Arch.) 

71 

1769 

Rev.  Wm.  Finch.     (A.) 

76,  77 

1784 

John  Formby.     (M.) 

74 

1774 

Jas.  Garnett.     (A.) 

84 

1787 

John  George.     (L.) 

60 

!757 

Guy  Green. 

77 

1784 

Matthew  Gregson.     (A.) 

68,  74,  76    • 

1824 

1774 

Thomas  Hargreaves.     (M.) 

87 

1773 

1847 

T.  Hazlehurst.     (M.) 

87 

1821 

1760 

Peter  Holland.     (P.,  M.) 

84,  85,  86 

1784,  1812 

Wm.  Jackson.     (M.,  P.) 

74,  81,  86 

1774. 

Nathaniel  Johnson.     (E.) 

74 

1774 

Edward  Kennion.     (P.) 

86,  87 

1744 

1809 

Miss  Knipe.     (P.) 

81,  82,  86 

1784 

Isaac  Le  Groates,  or  Legrote.    (L.) 

60 

1705,  1708 

Patrick  John  McMorland.     (P.) 

76,  77,  81,  84.  86 

1741 

1774,  1790 

William  Mayor.     (E.) 

74 

1774 

Samuel  Medley,  junior. 

81,83 

1784 

-  Moore. 

86,  88 

1787 

William  Newby. 

66 

1769 

IN  THE  EIGHTEENTH   CENTURY 


93 


Name  of  Artist. 

See  pages 

Born. 

Died. 

Dales  mentioned. 

John  Orme. 

66 

1769 

Faithful  Christopher  Pack.     (P.) 

79,  81 

'759 

iH.(,> 

1784 

Miss  E.  Palmer. 

81 

1784 

Joseph  Parry.     (P.) 

86,88 

1787 

John  Pennington 

71,  81 

1784 

Paul  Pennington. 

71 

1769 

Joseph  Perry.     (A.) 

81,82 

1784 

Henry  Pickering.     (P.) 

89 

1759,  i7S>6 

W.  Place.     (P.) 

86,88 

1787 

John  Rathbone.     (P.) 

75 

i?5° 

1807 

Dr.  Michael  Renwick.     (A.) 

66.  76 

1769,  1773 

Edward  Rogers.     (A.) 

84,  85 

1750 

1795 

1787 

Peter  Romney. 

69 

J743 

1777 

1769 

W.  Roscoe. 

73,  76,  81.  84,  89 

1753 

1831 

Thomas  Rothwell.     (En.,  P.) 

60 

1760,  1761 

James  Sharpies.     (P.) 

74 

1774 

Miss  Sibbald. 

81 

1784 

Daniel  Stringer. 

75 

1774 

Saml.  Stringer,  junior. 

75 

'774 

George  Stubbs,  A.R.A.    (P.) 

61.  6-2.  70.  71          1724 

1806 

George  Townley  Stubbs.     (E.) 

63                    1756 

1815 

William  Sutton.     (E.) 

60 

1763 

John  Sykes.     (P.) 

72,  74 

1769,  1774 

Mrs.  Ann  Tarleton.     (A.) 

81,  83 

1784 

Wm.  Tarleton.    (A.) 

81,  83 

1784 

Miss  Tate.     (A.) 

68.  81,  86 

1769 

Paul  Tate.     (A.) 

68,  81 

1769 

Richard  Tate.    (A.) 

68,  81 

1769 

Thos.  Moss  Tate.    (A.) 

68.  81,  86 

1806 

1769 

William  Tate,  F.S.A.    (P.) 

68,  81.  86 

1769 

Thomas  Taylor.    (A.) 

77,84 

1784 

Charles  Town(e).     (P.) 

83,  86,  88 

1760 

l850 

Richard  (or  Robert)  Town.    (P.) 

81,  83,  88 

1784,  1803 

Miss  Trafford.     (A.) 

81,  86,  89 

1787 

Dr.  Matthew  Turner.    (A.) 

71,  76,  84 

1769 

Miss  Turner.     (A.) 

81,  83 

1784 

Thos.  Wakefield.     (A.) 

84 

1787 

J.  G.  Williams. 

81,83 

1784 

John  Williamson.     (P.) 

79.  81,  84,  86          1751 

1818 

Hamlet  Winstanley.    (P.) 

62                    1700 

1761 

W.  Woodworth.     (P.) 

81,  83,  86 

1784,  1787 

Ottiwell  Worrall.     (P.) 

66,  81 

1769,  1784 

Edward  Wright.    (P.) 

61 

1769.  1773 

Elizabeth  Wright.     (P.) 

61 

1773.  1776 

J.Wright.     (P.) 

68 

1774 

Mrs.  Louisa  Wright.     (P.) 

61 

1770,  1777 

Richard  Wright,  F.S.A.    (P.) 

60,  68,  70             1735 

1775 

JohnWyke.    (A.) 

66 

1769 

FURTHER   LEAVES   FROM   TURNER'S  'SOUTH 
WALES'  SKETCH-BOOK 

BY  ALEXANDER  J.  FINBERG. 

THE  present  instalment  of  reproductions  from  Turner's  'South  Wales' 
sketch-book  (Plates  xxxn  to  XLI)  completes  the  selection  of  drawings  chosen  by 
the  Committee  of  the  Walpole  Society  for  reproduction.  The  first  instalment 
was  published  in  our  third  volume,  when  the  present  writer  had  the  honour  of 
contributing  some  notes  dealing  with  the  first  nineteen  pages  of  this  valuable 
and  interesting  sketch-book.  There  remain  sixty-four  leaves,  with  which  I  pro- 
pose to  deal  on  the  present  occasion.  Most  of  these  were  used  by  Turner  for 
the  drawings  and  notes  made  during  his  tour  in  South  Wales,  in  1795,  which 
was  mapped  out  on  the  inside  of  the  cover  of  the  book  and  on  the  fly-leaves ; 
these  notes  were  transcribed  in  full  on  pp.  90-4  of  Vol.  III.  But  when  this 
sketching-tour  was  finished  several  of  the  leaves  at  the  end  of  the  book  remained 
unused. 

These  idle  pages  must  have  offended  Turner's  thrifty  mind,  for  in  April, 
1798,  when  he  set  out  to  visit  his  friend,  the  Rev.  Robert  Nixon,  at  the 
Parsonage,  Foots  Cray,  Kent,  he  took  the  book  with  him  among  his  scanty 
luggage.  From  Foots  Cray  he  went  on  a  three  days'  sketching-tour  round 
Aylesford  and  Maidstone.  He  managed  to  use  up  pages  74  to  87  during  this 
tour  and  some  of  the  leaves  which  are  now  loose,  but  which  have  been  num- 
bered 92  to  97.  The  drawings  at  Canterbury  (pp.  71  and  72)  were  probably 
made  either  during  this  tour  or  immediately  afterwards.  When  the  drawings 
of  Christ  Church,  Oxford  (p.  97),  and  of  the  North-west  view  of  St.  Mary  Red- 
cliffe,  Bristol,  were  made,  I  don't  know.  There  is  no  evidence  on  the  point ; 
and  I  should  be  sorry  to  annoy  my  friend,  Mr.  C.  F.  Bell,  by  indulging  in 
'  morphological  analysis '. 

Turner's  frugal  habit  of  using  up  the  empty  leaves  of  his  sketch-books  on 
any  favourable  occasion  was  a  constant  trouble  and  snare  to  me  when  I  was 
worrying  out  the  chronological  sequence  of  his  work  for  the  National  Gallery 
'  Inventory  '.  At  that  time  there  was  no  published  record  of  the  little  sketching- 


96  FURTHER   LEAVES   FROM   TURNER'S 

tour  in  1798.  It  was  not  till  May,  1912,  that  Mr.  Lionel  Cust  first  drew  atten- 
tion to  this  episode  in  the  pages  of  the  Burlington  Magazine.  As  he  pointed 
out  then,  'it  is  curious  that  no  note  of  this  sketching-tour  in  1798  occurs  in 
any  life  of  Turner ',  though  he  was  not  quite  accurate  in  adding,  '  and  no  sketch- 
book is  known  to  exist  containing  water-colour  drawings  of  such  scenery  at  such 
a  date '.  Two  of  the  drawings  had  been  correctly  described  among  the  contents 
of  the  '  South  Wales '  sketch-book,  viz.  p.  94,  '  Maidstone  Bridge,  with  houses 
and  shipping '  (now  admirably  reproduced  in  colours  on  Plate  xxxix),  and  p.  95, 
'  Ruins  of  Allington  Castle,  near  Maidstone'.  It  is  true,  however,  that  the  date 
was  not  correctly  given  (because  I  didn't  know  it),  and  that  the  sketch-book 
itself  was  arranged  under  the  year  1795,  to  which  it  indeed  belongs. 

Thanks  to  Mr.  Gust's  discovery,  several  other  drawings  belonging  to  this 
tour  have  now  been  identified.  But  before  dealing  with  these  I  think  it  will  be 
best  to  print  in  full  the  interesting  information  about  this  tour  which  Mr.  Cust 
has  very  kindly  placed  at  my  disposal.  It  is  contained  in  an  extract  from 
a  Memoir  of  John  Francis  Rigaud,  R.A.,  compiled  in  1855  by  his  son,  Stephen 
Francis  Dutilh  Rigaud.  This  memoir  has  remained  in  manuscript,  and  was  lent 
to  Mr.  Cust  in  1895  by  the  writer's  niece,  Miss  Emily  Davies. 

Mr.  Stephen  Rigaud  was  staying  with  the  Rev.  R.  Nixon  at  the  Parsonage, 
Foots  Cray,  Kent,  when  he  received  a  letter  from  his  father,  dated  i4th  April, 
1798;  this  enabled  him  to  date  correctly  the  events  of  which  he  wrote  the 
following  account  :— 

'Soon  after  I  had  received  this  letter,  an  unexpected  visitor  made  his  appearance— 
William  Turner,  the  afterwards  justly  celebrated  landscape-painter,  who  was  received  by 
the  generous  occupant  of  the  little  parsonage  with  a  hearty  welcome.  Mr.  Nixon  had 
been  one  of  the  first  to  notice  him  when  he  was  living  with  his  father  the  hairdresser  in 
Maiden  Lane,  Covent  Garden,  he  brought  him  to  my  Father,  who  greatly  encouraged  him, 
introduced  him  to  the  Royal  Academy  as  a  Student,  and  was  the  first  friend  he  had 
amongst  the  Royal  Academicians ;  so  of  course  we  were  all  intimately  acquainted  with 
each  other.  Mr.  Nixon  was  also  a  Pupil  of  Turner's  in  landscape  painting,  and  of  mine  in 
figures. 

'  It  was  the  Saturday  evening,  and  it  was  soon  arranged  that  on  Monday  morning  we 
should  all  three  set  off  on  a  pic-nic  sketching  party  for  three  days.  The  next  day  being 
Sunday,  I  accompanied  our  mutual  friend  to  the  parish  church  close  by,  which  stood 
almost  concealed  by  tall  majestic  trees,  a  sweet  secluded  spot,  whose  solemn  stillness 
seemed  to  invite  the  soul  to  meditation  and  to  God.  As  for  Turner  it  had  no  such  attrac- 
tion. He  worshipped  nature  with  all  her  beauties ;  but  forgot  God  his  Creator,  and  dis- 
regarded all  the  gracious  invitations  of  the  Gospel.  On  our  return  from  church  we  were 
grieved  and  hurt  to  find  him  shut  up  in  the  little  study,  absorbed  in  his  favourite  pursuit, 
diligently  painting  in  water  colours. 

'  The  next  morning,  after  an  early  breakfast,  we  started  on  our  sketching  party 
through  a  beautiful  part  of  the  County  of  Kent.  It  was  a  lovely  day,  and  the  scenery  most 
delightful.  After  having  taken  many  a  sketch  and  walked  many  a  mile,  we  were  glad  at 
length  to  seek  for  a  little  rest  and  refreshment  at  an  inn.  Some  chops  and  steaks  were 


'SOUTH  WALES'   SKETCH-BOOK  97 

soon  set  before  us,  which  we  ate  with  the  keen  relish  of  appetite,  and  our  worthy  friend 
the  Clergyman,  who  presided  at  our  table,  proposed  we  should  call  for  some  wine,  to  which 
I  made  no  objection,  but  Turner,  though  he  could  take  his  glass  very  cheerfully  at  his 
friend's  house,  now  hung  his  head,  saying— "  No  I  can't  stand  that",  Mr.  Nixon  was  too 
polite  to  press  the  matter  further,  as  it  was  a  pic-nic  concern ;  so  giving  me  a  very  signifi- 
cant look,  we  did  without  the  wine.  I  mention  this  anecdote  to  show  how  early  and  to 
what  an  extent  the  love  of  money  as  a  ruling  passion  already  displayed  itself  in  him,  and 
tarnished  the  character  of  this  incipient  genius ;  for  I  have  no  hesitation  in  saying  that  at 
that  time  he  was  the  richest  man  of  the  three ;  Mr.  Nixon  having  then  but  a  very  small 
Curacy,  and  I  having  little  more  than  the  pocket  money  allowed  me  by  my  Father,  whilst 
Turner  had  already  laid  up  something  in  the  funds,  and  for  which  his  good  friend 
Mr.  Nixon  was  one  of  the  Trustees  whilst  he  was  still  under  age.  This  little  incident, 
though  calculated  to  throw  a  chilling  influence  over  the  cordiality  of  our  sketching  party, 
could  not  prevent  our  greatly  enjoying  the  remaining  part  of  our  beautiful  tour,  particularly 
the  river  scenery  on  the  banks  of  the  Medway  as  far  as  Aylesford  ;  and  at  the  end  of  the 
third  day  we  returned  to  the  quiet  rural  parsonage  of  Foots  Cray,  very  much  delighted 
with  our  excursion.' 

As  Mr.  Cust  remarks,  '  the  general  care  and  accuracy  of  Stephen  Rigaud's 
memoir  of  his  father  lead  one  to  put  implicit  trust  in  his  narrative  of  the  visit  of 
Turner  to  Foots  Cray  and  the  sketching-tour  on  the  Medway  to  Aylesford  ',  but 
we  must  remember  that  the  account  was  written  nearly  sixty  years  after  the 
event.  The  remarks  about  Turner's  love  of  money  were  evidently  coloured  by 
the  newspaper  twaddle  and  ill-natured  gossip  which  were  current  at  that  time. 
If  it  were  not  for  such  influences  the  writer  might  possibly  have  found  something 
to  admire  in  the  strength  of  mind  which  enabled  the  young  artist  to  refrain  from 
incurring  needless  expenditure  in  spite  of  the  foolish  incitement  of  his  reverend 
and  senior  host.  Turner  was  only  a  little  over  twenty-one  years  of  age  then, 
and  his  professional  earnings  could  not  have  been  large.  He  was  also  on  the 
point  of  making  a  lengthy  sketching-tour  through  Wales  in  the  summer  and 
autumn  of  that  year,  and  it  was,  at  least  in  my  opinion,  only  prudent  of  him  to 
wish  to  husband  his  slender  resources. 

An  entry  inside  the  cover  of  one  of  Turner's  sketch-books — the  smaller 
South  Wales  book  (xxv.)  of  1795 — throws  some  additional  light  on  this  incident. 
There  Turner  has  written  in  pencil,  'Lent  Mr.  Nixon,  2.12.6'.  If  a  reverend 
gentleman  borrows  money  of  a  youth  of  nineteen  or  twenty,  that  youth  might 
well  think  he  was  doing  his  creditor  a  service  by  helping  him  to  keep  down  his 
expenditure.  So  that  even  if  Turner's  refusal  to  drink  wine  when  he  didn't 
want  it  was  a  purely  selfish  action,  I  cannot  help  thinking  that,  had  Mr.  Stephen 
Rigaud  seen  the  memorandum  in  Turner's  note-book  which  I  have  just  quoted, 
he  would  not  have  made  quite  so  much  fuss  as  he  has  done  about  the  young 
artist's  temperance. 


VI. 


98  FURTHER   LEAVES   FROM   TURNER'S 

In  our  third  volume  I  gave  a  record  of  the  first  nineteen  pages  of  the  '  South 
Wales  '  sketch-book,  supplementing  and  correcting  the  descriptions  given  in  my 
'  Inventory '  of  1909.  The  following  notes  continue  this  record  for  the  remaining 
pages  of  the  book  :— 

Page  20.     '  Gate  Holm  Stack.'     Pencil,  with  part  of  the  drawing  finished  in 
water-colour.     (Sixth  Loan  Collection,  No.  2.) 

21.  '  Laugharne  Castle.'    (Fourth  Loan  Collection,  No.  i.)    A  different 

view  from  that  on  p.  19,  which  is  reproduced,  Plate  LXXXVI, 
Walpole  Society,  vol.  iii. 

22.  A  rocky  bay  (probably  in  Carmarthen  Bay).    Partly  finished  in  water- 

colour.  For  an  unfinished  attempt  to  work  this  up  into  a  picture, 
see  xxvin  E. 

23.  'Walls   of  Tenby.'     (Sixth  Loan   Collection,   No.  14.)    Two  com- 

missions, from  Mr.  Landseer  and  Mr.  Lambert,  for  water-colours 
of  this  subject  are  recorded  in  the  list  of  '  Order'd  Drawings  ',  p.  5 
of  fly-leaves.  The  cross  against  Mr.  Landseer's  commission 
suggests  that  the  drawing  was  made,  but  I  have  no  record  of  its 
existence. 

24.  Part  of  the  ruins  of  Carew  Castle. 

25.  Carew  Castle.    (Exhibited  Drawings,  No.  622  a.,  N.  G.) 

26.  'Carew  Castle  Mill.' 

27.  '  Hook,  Pembrokeshire.'     Part  finished  in  water-colour.     (Exhibited 

Drawings,  No.  759,  N.  G.) 

28.  Ruins,  with  winding  river  and  mountains  in  distance. 

29.  'St.  David's  Head.'     Finished  water-colour,  signed  'Turner',  and 

inscribed  'St.  David's  Head',  and  Porthsallie  Bay'.  (Plate  xxxn.) 
(Exhibited  Drawings,  No.  401,  N.  G.,  as  'The  Mewstone,  Plymouth 
Sound' — about  1791.  Mr.  Ruskin's  note  in  his  second  catalogue — 
'  Interesting  as  the  first  thought  of  one  of  his  best  known  works '.) 

The  rocks  and  distance  were,  I  think,  coloured  on  the  spot — the  procedure 
adopted  in  pages  20,  22,  and  27.  The  sky,  foreground,  and  figures  were 
probably  added  afterwards.  Then  the  leaf  was  cut  from  the  book,  laid  down 
on  a  piece  of  board,  and  decorative  borders  were  added,  almost,  certainly  b}^ 
the  artist  himself.  The  title  of  the  drawing,  '  St.  David's  Head',  was  printed  in 
pencil,  also  by  the  artist,  and  on  the  margin  above  he  wrote  the  additional 
information,  '  Porthsallie  Bay '. 

The  drawing,  unlike  most  of  Turner's  sketches,  was  evidently  intended  for 
sale.  But  it  either  remained  unsold  or,  if  sold,  was  bought  back  afterwards, 
for  it  was  in  the  artist's  possession  at  his  death. 


PLATE   XXXII 


••^•••g"  •»'_•••  •_!•••..•. 


PLATE   XXXIII 


r 


»         »  •    • 


THE    BISHOP  S   THRONE,    ST.    DAVID  S   CATHEDRAL 
Page  36  o/'  South  Wales '  Sketch  Boot 


•r*J 

..i$$.'*/: 

m        \j 

$g*'*^'^  \**' 


*\- 

§: 
II 


'SOUTH   WALES'  SKETCH-BOOK  99 

Its  fate,  after  it  had  become  the  property  of  the  nation,  throws  a  rather 
unpleasant  light  on  Mr.  Ruskin's  conception  of  the  task  of  arranging  and  cata- 
loguing these  sketches  and  drawings.  It  was  included  in  the  first  460  drawings 
chosen  by  Mr.  Ruskin  for  public  exhibition.  But  Turner's  carefully-ruled  and 
tinted  border  did  not  meet  with  approval,  so  a  cheap,  common-looking  mount 
was  cut  to  cover  it  up.  The  new  mount  was  too  small,  for  it  covered  not  only 
the  border  but  also  half  an  inch  and  more  on  each  of  the  four  sides  of  the 
drawing  itself,  thus  destroying  the  balance  of  the  composition  and  the  general 
effect  of  the  design.  Turner's  mount  was  not  only  covered  up,  it  was  defaced 
with  liberal  daubs  of  glue  to  hold  the  cheap  and  nasty  mount  of  commerce 
in  position.  Traces  of  some  of  the  mischief  done  are  visible  in  the  accompanying 
reproduction,  and  the  curious  will  also  be  able  to  trace  those  portions  round  the 
edges  of  the  drawing  which  were  concealed  by  the  new  mount,  as  the  drawing 
was  afterwards  recklessly  exposed  to  the  light,  which  bleached  it,  while  the 
parts  protected  (unintentionally)  by  the  mount  retained  their  full  force  and 
vigour. 

Having  got  Turner's  tell-tale  title  carefully  concealed  in  this  way, — for  the 
title  was  printed  on  the  border — Mr.  Ruskin  was  free  to  fancy  anything  he 
liked  about  the  subject-matter.  The  rocks,  though  they  are  not  at  all  like  those 
in  Plymouth  Sound,  reminded  him  of  the  Mew  Stone.  The  drawing  was  there- 
fore christened  'The  Mewstone,  Plymouth  Sound',  it  was  dated  'about  1791 ', 
and  the  public  were  told  that  it  was  '  Interesting  as  the  first  thought  of  one  of 
his  (Turner's)  best  known  works '. 

Page  30.  Rocky  coast.     Probably  in  St.  Bride's  Bay. 

31.  '  Knolton  Bay  Mill '  (Nolton  Haven,  St.  Bride's  Bay). 

32.  Rocks  on  Coast — '  Ramsey  Island '. 

33.  '  Bishop  and  Clerks.' 

34.  Rocks  on  Coast,  with  boats.     Part  finished  in  water-colour.    (Oxford 

Loan  Collection,  No.   16,  described  as  '  Sea  Surf.      Earliest  try 
at  it '.) 

35.  Ruins  of  Bishop's  Palace,  St.  David's. 

36.  Bishop's  Throne,  St.  David's  Cathedral '  (Plate  xxxm). 

37.  '  Bishop  Vaughan's   Chapel,    St.    David's.'     Pencil,  part  coloured. 

(Fifth  Loan  Collection,  No.  31.) 

38.  '  Llandowro  Mill.'    Cf.  xxvin,  B.,  a  monochrome  wash   drawing, 

i6J  x  9!  in.,  based  on  this  sketch. 

39.  Gateway  of  the   ruined   Palace,    St.    Davids.1      Cf.  xxvin,  C,   an 

unfinished  water-colour,  i6J  x  10  in.,  based  on  this  sketch. 

1  I  have  to  thank  Mr.  John  Ballinger,  the  learned  and  indefatigable  librarian  of  the  National 
Library  of  Wales  for  drawing  my  attention  to  the  engraving  in  the  Gentleman's  Magazine,  July  1856, 
and  thus  enabling  me  to  identify  the  subject  of  this  sketch. 

O  2 


ioo  FURTHER   LEAVES   FROM   TURNER'S 

40.  Interior  of  St.  David's  Cathedral.     Pencil,  part  in  water-colour. 

41.  Rocks  on  Coast.     Written  on  water, — '  Dark  O.  Green '. 

42.  Missing. 

43.  Water  Mill  and  dock  leaves. 

44.  Blank. 

45.  Buildings,  with  Water  Mill  and  figures. 

46.  Missing. 

47.  '  Wye  Bridge,  Hereford.' 

48.  North-west  Porch  of  Hereford  Cathedral. 

49.  An  old  oak-tree  in  the  grounds  of  Hampton  Court,  Herefordshire. 

See  '  Order'd  Drawing '  of  '  Oak '  for  Lord  Viscount  Maiden,  on  p.  5,  fly- 
leaves of  this  sketch-book. 

This  is  probably  the  water-colour,  now  in  the  Manchester  Whitworth 
Institute,  No.  255,  in  Catalogue  (1909  edition),  described  as  'Cassiobury  Park, 
near  Watford '  (Mrs.  Mary  Worthington  Bequest). 

Page  50.     The  Cascade,  Hampton  Court,  Herefordshire  (Plate  xxxiv). 

See  order  for  finished  water-colour  of  this  subject  for  Viscount  Maiden 
(born  November  13,  1757,  died  April  23,  1839,  became  5th  Earl  of  Essex,  1799), 
on  p.  5,  fly-leaves  of  this  sketch-book. 

This  is  probably  the  water-colour  now  in  the  Victoria  and  Albert  Museum 
(1682-71),  catalogued  as  '  A  Waterfall '.  The  water-colour  (Plate  xxxv)  is  signed 
'W.  Turner'  and  said  to  be  dated  '1795'.  It  was  acquired  in  1871,  as  part  of 
the  William  Smith  Gift,  and  is  said  to  have  come  from  Lord  Essex's  Collection. 

Page  51.     A  View  of  Hampton  Court,  Herefordshire. 

An  engraving  of  a  water-colour  by  Turner  of  this  view  was  published  in  the 
Copperplate  Magazine  on  September  i,  1797.' 

1  The  following  description  of  Hampton  Court  accompanied  the  engraving : — 

'It  is  delightfully  situated  five  miles  S.E.  of  Leominster,  and  is  distinguished  by  a  very  fine 
mansion,  built  (castle-form)  in  a  valley  near  the  confluence  of  the  rivers  Lug  and  Wye,  under  cover- 
ture of  Dynmoor ;  and  from  the  top  of  the  house  runs  a  stair-case  which  is  said  to  have  a  subter- 
ranean conveyance  to  Dynmoor  Wood. 

This  edifice  was  erected  by  Rowland  Lenthal,  master  of  the  wardrobe  to  King  Henry  the 
Fourth.  By  marriage  it  came  to  the  family  of  Coningsby ;  and  was  by  Lord  Coningsby,  in  the  time 
of  William  III,  materially  altered,  elegantly  fitted  up,  and  the  grounds  laid  out  in  the  Dutch  taste 
then  prevalent. 

It  is  now  the  property  of  Lord  Viscount  Maiden,  eldest  son  of  the  Earl  of  Essex,  who  has 
been  for  some  time  engaged  in  restoring  it  to  its  original  magnificent  state  of  architecture,  which 
was  partly  Gothic  and  partly  Saxon. 

The  park  is  eight  miles  in  compass,  well  stocked  with  deer,  and  having  a  broad  pool  three- 
quarters  of  a  mile  long,  between  two  great  woods.  The  dam,  by  which  it  is  formed,  is  made  over 
a  valley,  cost  £800,  and  was  finished  (200  hands  being  employed)  within  a  fortnight.  A  river  runs 


PLATE   XXXIV 


*          V 

k  ^  -a.  f 

t$ 

Vrri 

^mfrvtrM&iF   > 


4 


& 


/ 


r    M! 

1       n 
I 


i       it          ? 


• 

• 

> 


M 
K 


o 
E 

M 

K 


O 

CJ 


S     2 

<   i 

=   I 


PLATE   XXXV 


PLATE   XXXVI 


.j 


\ 

V 


I 

•  fV 


" 


,    *>v    "  &'•  -» 

J\ 

I 


•f-' 


' 
* 

fcrf 


'  ^  ^ 


• 


0      5 


= 

H 


PLATE   XXXVII 


• 

•* 
• 

. 

, 

- 

*•»           - 

r  CM 
-r  „  ,  ..a.  *=..<! 

•»-'•«•*-••  ~«  '-  ; 

! 

.    ^ 
,   .1  •? 


£?,!  ;.  r- 

,         -. 

-•'      '    h  f^^f''- 

^M'' 
a.  .        • 

£S  V    •  ••  ••  •;'•••  .-r.*-;  •"  r  J  A 

C;' 

a  ,..'..  '    ',,  '• 

-         i 

-'-,;-•  i 


* 


"    "^*—  - 


•£          .    - 

">»~T  .'    .  •  :.:'      - 

»       .   •• 
"> 

,;  i    d'  •  •  -» 

i    -i  *Q  ; 

fi! 

: 


* 


.       ' 

'    '  tiSsL ' 

4 


fler 

*£-.».          ^      -'f.-.i 

1         $}!^ 

j     ;" 

V^y'  '; . 

' 


w#-    , 

Win 

N      -H"        • 

•J       •   l)  — 

',>> 

• 


b) 


o 


S  v 

* ; 

w     *. 


'SOUTH   WALES'  SKETCH-BOOK  101 

Page  52.     A  view  of  the  Chapel  at  Hampton  Court,  Herefordshire. 

See  p.  5,  fly-leaves,  for  order  from  Lord  Maiden  for  a  finished  drawing  of 
the  'Chaple'. 

This  is  probably  the  water-colour  now  in  the  Manchester  Whitworth  Insti- 
tute, No.  259,  catalogued  as  '  Cassiobury  House  —  View  of  Chapel  '  (edition  1909). 

Page  53-     Hampton  Court,  Herefordshire. 

See  p.  5,  fly-leaves,  for  order  from  Lord  Maiden  for  a  finished  drawing  of 
this  subject. 

This  is  probably  the  water-colour  now  in  the  Manchester  Whitworth  Insti- 
tute, No.  258,  catalogued  as  '  Cassiobury  House  Front  '. 

Page  54.     View  of  '  Ross  ',  Herefordshire. 
55.     Ross  Market  Place  (Plate  xxxvi). 

This  drawing  was  cut  out  and  loose.  It  probably  belongs  here.  See  order 
for  finished  drawing  for  Mr.  Lambert,  p.  5,  fly-leaves. 

Page  56.  'Goodrich  Castle/  on  the  River  Wye. 

57.  Missing. 

58.  River,  with  steep  banks  ;  probably  the  River  Wye. 

59.  Another  view  of  same  river. 

60.  Blank. 

61.  River  scene. 

62.  '  Monmouth.' 

63.  '  Monow  Bridge,  Monmouth  '  :  sometimes  called  Gateway  and  Bridge, 

Ragland. 

64.  Blank. 

65.  'West  Gate  Bridge,  Gloucester'  (Plate  xxxvn). 

66.  Blank. 

67.  Buildings  in  Market  Place  (?),  with  figures  under  arch  and  in  doorway 

of  shop  on  right.     Bust  in  circular  niche  in  foreground  building. 

68.  Blank. 

68a.  Gloucester  Cathedral,  from  the  South-west.    Top  of  a  pinnacle  drawn 
in  detail  at  side  of  drawing,  with  '  All  alike  '  written  over  it. 

69.  Blank. 

.  Tower  of  Church  with  open-worked  battlements,  the  porch  embel- 


quite  through  the  park,  the  channel  of  which,  for  a  considerable  length,  is  hewn  out  of  the  rock. 
This  enriches  vast  tracts  of  land  which  before  were  unproductive.  There  are  numerous  gardens 
and  canals,  plantations  of  timber,  warrens,  decoys,  sheep-walks,  pastures  for  cattle,  &c.,  which 
supply  the  house  with  all  necessaries  and  conveniences. 

In  some  maps  we  have  found  this  place  marked  by  the  name  of  Hampton  Charles." 


102  FURTHER  LEAVES   FROM   TURNER'S 

lishcd  with  pinnacles,  and  carved  niches  in  the  abutment.  Probably 
the  Church  of  St.  Peter  and  St.  Paul,  at  Northleach,  Gloucester- 
shire. 

(This  drawing  seems  to  mark  the  end  of  the  South  Wales  sketching-tour; 
most  of  the  following  drawings  were  made  during  the  short  tour  in  Kent,  in 
1798,  referred  to  above — that  of  Brecknock  Castle  (p.  91)  was  found  among  the 
loose  leaves,  so  that  it  is  not  now  in  its  original  place.) 

Page  70.     Missing. 

71.  Blank. 

713.  The  Corona,  Canterbury  Cathedral,  with  the  chair  of  S.  Augustine l 
(Plate  xxxvin). 

72.  Tomb  of   Cardinal    Morton   in    the   Crypt,  Canterbury  Cathedral. 

(Exhibited  Drawings,  No.  634,  N.  G.,  as  'Crypt,  Canterbury'.) 

73.  Blank. 
73a.  A  Cottage. 

74.  Mill  and  stream,  rough  water.     Pencil,  part  in  water-colour;  grey 

underpainting  of  shadows,  yellow  and  dull  red  on  roof.  (Oxford 
Loan  Collection,  87,  — 15.) 

75.  Old  Cottages  and  sheds  beside  river ;  another  view  of  same  buildings. 

76.  Aylesford    Bridge,    Kent.     Part  in.  water-colour,  worked   like    the 

drawing  of  Maidstone  Bridge  (p.  94).  For  a  water-colour  of  this 
bridge,  see  xxxn,  H. 

77.  Aylesford  Bridge  and  Church. 

78.  Blank. 

78a.  Part  of  Aylesford  Bridge,  with  horses,  and  figure  in  a  punt. 

79.  A  bend  of  the    River  Medway,  with  sailing-boat;    wooded  banks. 

Pencil,  with  a  few  dainty  touches  of  colour. 
8o\ 

81 1    Missing. 
82) 
83.    Blank. 

83.  Mansion,  with  pond  in  foreground  :  cart  with  two  horses,  dogs,  &c., 

on  the  road. 

84.  Missing. 

85.  Blank. 

853.  A  Cottage,  with  figure. 

86.  Missing. 

87.  Blank. 

873.  Landscape,  with  figures. 

1  I  have  to  thank  Mr.  C.  F.  Bell  for  the  correct  description  of  this  drawing. 


PLATE   XXXVIII 


, 


I'.  J      '' 

i  '   ,,    " 


%  ^r 
f 


1  'l»»-=^.  fc_n  s    -ji 


__ 


, 
ir»r? 


i  -  t\ 


THE   CORONA,    CANTERBURY   CATHEDRAL,    WITH   THE    CHAIR    OF   ST.    AUGUSTINE 
sf  o/pagt  71  of  '  South  Wales  '  S**/rA  Soo* 


PLATE  XL 


H 

1 

a 


"  ^  1 


* 

d  1  1 

<    ft,   a, 


PLATE   XLI 


SOUTH   WALES'  SKETCH-BOOK  103 


89!     Blank. 
90) 

(The  following  loose  leaves  appear  to  have  belonged  to  this  book,  but  I  was 
unable  to  place  them  in  their  original  positions.  No  doubt  they  constitute  some 
of  the  missing  pages  noted  above.) 

Page  91.     '  Brecknock    Castle '.      (Exhibited    Drawings,    No.  623  b.,    N.  G). 
(Probably  the  missing  p.  42.) 

92.  Gateway  of  Allington  Castle,  near  Maidstone. 

93.  Another  view  of  same.     Pencil,  part  in  water-colour.     (Exhibited 

Drawings,  No.  806,  N.  G.,  described  (erroneously)  as  '  Woodcroft 
Castle,  Northamptonshire '). 

94.  Maidstone  Bridge,  with  houses  and  shipping.     Pencil,  part  in  water- 

colour  (Plate  xxxix).     (Oxford  Loan  Collection,  90,  — 12.) 
On  back,  written  by  Turner  in  ink — '  Maidstone  bridge,  no '. 

95.  West  side  of  Allington  Castle,  near  Maidstone.     Pencil,  part  finished 

in  water-colour  (Plate  XL). 
On  back,  in  ink — 'Alington  Castle,  on  the  Medway,  109'. 

96.  A  Kiln.     Pencil,  part  in  water-colour. 

97.  Christchurch,    Oxford    (Plate    XLI).     Pencil,    part    in    water-colour. 

Written  in  pencil  at  foot — 'Christ  Church  Coll.';  on  the  sky  to 
right — '  Venables (?),  Neat  Wines',  and  'horses  to  stand  at  leaving 
by  W.',  &c.  (Oxford  Loan  Collection,  86,  —3.) 

98.  West  Mailing  Abbey. 

99.  '  North  West '  view  of  '  St.  Mary  RedclifT ,  Bristol.     Written  beside 

drawing,  '  The  stone  grey  and  brown ',  and  '  Queen  with  Crown 
and  Book'.  (Exhibited  Drawings,  No.  5243.,  N.  G.) 


TWO   EARLY   WORKS  OF  SIR  JOSHUA   REYNOLDS 

So  little  is  known  of  Reynolds's  work  before  he  went  to  Italy  that  it  gives 
us  much  pleasure  to  be  able  to  present  to  the  members  of  the  Walpole  Society 
reproductions  of  two  hitherto  unpublished  and  undescribed  portraits  belonging 
to  this  early  period  of  the  great  artist's  career.  Both  these  portraits  are  signed 
and  dated,  one  1747,  the  other  1748,  so  that,  together,  they  give  us  a  good 
idea  of  Reynolds's  achievement  and  capacities  before  he  went  to  Italy  in  1749 
to  study  the  works  of  the  Italian  masters.  They  show  how  much  he  had  learned, 
directly,  from  his  master,  Thomas  Hudson,  and  indirectly,  from  Richardson's 
theories  and  the  example  of  William  Gandy,  of  Exeter.  And  if  they  do  not 
entirely  confirm  Hudson's  opinion  that  his  pupil's  style  of  painting  was  not 
so  good  after  he  had  been  abroad  as  it  was  before  he  went,  they  explain  at 
least  the  grounds  for  Hudson's  disappointment  with  the  changes  produced  in 
his  pupil's  style  by  his  foreign  studies. 

Cotton  has  shown  (in  his  Sir  Joshua  Reynolds  and  his  Works)  from  the 
evidence  of  Reynolds's  father's  letters  that  the  young  artist  did  not,  as  was 
generally  supposed,  remove  to  Plymouth  Dock  immediately  after  his  quarrel 
with  Hudson  in  1743.  After  a  few  months'  absence  Reynolds  returned  to 
London  and  was  reconciled  to  Hudson,  'who',  as  Cotton  says,  'seems  not 
only  to  have  received  him  kindly,  but  to  have  consulted  him  upon  the  pictures 
he  had  in  hand,  and  also  to  have  introduced  him  to  the  society  of  the  most 
eminent  artists  of  the  metropolis '  (p.  61).  After  his  father's  death,  on  Christmas 
Day,  1746,  Reynolds  seems  to  have  worked  partly  in  London  and  partly  at 
Plymouth.  His  London  address,  according  to  Malone  (Memoir,  I3c.,  p.  xi), 
was  in  St.  Martin's  Lane,  'nearly  opposite  to  May's  buildings';  when  at 
Plymouth  he  lived  with  his  sisters,  who  had  removed  there  from  Plympton 
after  their  father's  death.  It  was  at  Plymouth  that  Reynolds  became  acquainted 
with  Captain  (afterwards  Viscount)  Keppel,  with  whom  he  sailed  in  the 
Centurion  on  May  n,  1749.  The  portrait  of  Captain  Keppel  he  painted  at 
Corsica  before  the  following  December  was  published  in  the  Walpole  Society's 
first  volume. 

Malone  tells  us  that  the  first  of  Reynolds's  performances  which  brought 
him  any  considerable  notice  was  a  portrait  of  Captain  the  Honble.  John 
Hamilton,  painted  in  1746.  This  three-quarter  length  (50x40  in.)  is  now  in 

VI.  P 


106  TWO  EARLY  WORKS  OF 

the  possession  of  the  Duke  of  Abercorn.  It  was  exhibited  at  the  British 
Institution,  1813,  and  at  the  Royal  Academy,  1875  (No.  114).  Malone  tells  us 
that  when  Reynolds  saw  this  portrait  at  a  late  period  of  his  life  '  he  was 
surprised  to  find  it  so  well  done '  (p.  xi). 

The  portrait  of  Captain  Roberts,  R.N.  (Plate  XLII),  which  we  are  now 
enabled  to  publish  by  the  courtesy  of  its  present  owner,  Mrs.  Watkin,  is 
included  in  Cotton's  list,  who  dates  it  by  a  curious  misprint  1847,  giving  as 
his  authority  'Reynolds'  Private  Notes'.  Fortunately  the  picture  is  signed 
and  dated,  '  JOSHUA  REYNOLDS  PINXIT  1747.'  It  is  of  the  usual  head  and 
shoulders  size — 30  x  24-!  in.,  the  portrait  being  enclosed  within  a  painted  oval. 
It  is  painted  with  astonishing  vigour  and  ease.  Its  breadth  and  frankness  of 
treatment  I  must  confess  surprised  me.  No  one  who  knows  Reynolds's  hand 
would  hesitate  for  a  moment  to  accept  it  as  his  work,  even  without  the  signature, 
but  unless  it  was  dated  few  would  have  ventured  to  suggest  that  it  might  have 
been  painted  so  early  in  the  artist's  career.  Its  breadth  of  treatment  is,  I  think, 
a  general  quality  in  all  Reynolds's  work,  its  vigour,  frankness,  and  directness 
are  qualities  rarely  found  in  the  work  produced  after  his  visit  to  Italy.  But  the 
chief  difference  between  this  and  his  later  work  is  in  the  colour— in  the  lightness 
and  purity  of  the  flesh  tints  in  the  lighter  parts  of  the  face,  and  the  lightness  and 
thinness  of  the  shadows,  which  afterwards  became  usually  very  dark  and 
opaque.  Probably  the  impression  of  frankness  and  directness,  to  which  I  have 
already  alluded,  is  connected  with  this  colour  system,  though  it  is  emphasized 
by  the  swiftness  and  apparent  ease  with  which  the  portrait  has  been  painted. 

The  only  other  painting  by  Reynolds  of  this  date  which  I  find  recorded  is 
'A  Boy  Reading',  which  was  lent  by  the  Earl  of  Normanton  to  the  Royal 
Academy  (Old  Masters)  in  1883.  This  is  also  a  30x23!  in.,  and  it  is  said  to 
be  signed  and  dated,  '  1747  Jo.  Reynolds  pinxit  Nov.' 

Messrs.  Graves  and  Cronin  give  the  date  1748  to  a  portrait  of  Mrs.  Field, 
the  sister-in-law  of  Reynolds's  uncle,  which  Cotton  says  '  must  have  been  painted 
before  he  went  to  Italy '.  He  adds  that  '  the  carnations  are  of  great  delicacy 
and  clearness,  and  the  features  well  defined,  although  not  so  strongly  pro- 
nounced by  means  of  that  depth  of  shadow  which  he  afterwards  adopted  from 
the  works  of  Titian  and  other  Italian  masters'  (p.  60).  This  picture  was  lent 
by  Mr.  E.  R.  Pearce  to  the  Grosvenor  Gallery,  1884  (No.  195),  and  it  has  since 
passed  into  the  possession  of  Sir  Robert  Edgcumbe. 

Messrs.  Graves  and  Cronin  also  give  the  date  1748  to  Reynolds's  portrait  of 
himself,  with  his  hand  shading  his  eyes,  now  in  the  National  Portrait  Gallery 
(No.  41).  But  this  date  is  purely  conjectural.  In  Leslie  and  Taylor's  Life,  13 c., 
it  is  stated  that  Mr.  Carpenter  attributed  this  portrait  to  a  later  date  (vol.  i, 
p.  34),  and  judging  from  the  opaqueness  of  the  shadows  the  present  writer  is 
inclined  to  think  that  he  was  probably  correct. 


PLATE   XLII 


CAPTAIN    ROBERTS,    R.N. 

BY   SIR  JOSHUA    REYNOLDS,    1747 

(Reproduced  by  the  courtesy  of  Mrs.  IVatkiif) 


PLATE  XLIII 


us 
o 

H 
D 

H 


H 


05 
< 

s 


Q 


s 

o 

a 

H 


00 
Tt- 
P- 


en 

p 

O 


I 


(J 

s 

1 


1 


SIR  JOSHUA  REYNOLDS  107 

These  are  all  single  figure  portraits,  either  half  or  three-quarter  lengths. 
The  first  group  Reynolds  seems  to  have  painted  was  that  of  the  Eliot  Family, 
which  Malone  says  was  painted  '  about  the  same  time '  as  the  Captain  Hamilton 
referred  to  above.  Whether  this  expression  means  that  it  was  painted  in  1746, 
as  Messrs.  Graves  and  Cronin  seem  to  have  supposed,  or  whether  it  was  painted 
in  1747,  as  seems  more  probable,  I  can  offer  no  opinion  as  I  have  not  seen  the 
painting.  This  group  was  lent  by  the  Earl  of  St.  Germans  to  the  Royal 
Academy  (Old  Masters)  in  1876  (No.  3),  when  it  was  described  as  '  Richard 
and  Harriot  Eliot  and  their  Children,  with  Mrs.  Goldsworthy  and  the  Hon. 
Capt.  John  Hamilton  '.  The  canvas  is  a  small  one,  being  only  33  x  44  in.,  so 
none  of  the  figures  can  be  more  than  12  or  18  inches  in  height.  It  was  engraved 
in  1823  by  S.  W.  Reynolds.  The  general  idea  of  the  composition  seems  to 
have  been  taken  from  Van  Dyck's  '  Herbert  Family  Group ',  but  the  scene  has 
been  changed  from  indoors  to  the  open  air.  Richard  Eliot  (who  died  in  1748) 
is  seated  with  his  wife  by  his  side,  and  surrounded  by  his  three  sons  and  five 
daughters.  Captain  Hamilton  is  introduced  on  the  left  carrying  one  of  the 
little  girls  on  his  back.  Three  stone  steps  raise  the  father  and  mother  to  an 
appropriate  position  of  eminence,  the  eldest  son,  Edward  Eliot,  standing  beside 
his  mother  on  the  second  step,  while  the  others  are  grouped  round  them  either 
on  the  ground  or  on  the  steps: 

This  seems  to  have  been  the  first  composition  of  several  figures  which 
Reynolds  attempted.  Its  success  must  have  spurred  him  on  to  attempt  a  similar 
feat  on  a  larger  scale.  The  group  of  '  Thomas  and  Martha  Neate  with  their 
Tutor',  which  is  here  published  for  the  first  time  (Plate  XLIII),  is  probably  the 
first  group  approaching  life-size  which  Reynolds  painted.  The  canvas  measures 
66|  x  71  in.,  and  is  signed  and  dated,  '  JA  REYNOLDS  PINXIT  1748.' 

The  group  is  placed  in  a  landscape,  the  two  children,  Thomas  Neate  and 
his  sister,  being  raised  on  a  stone  step  similar  to  that  employed  in  the  Eliot 
Family  group.  Martha  Neate  stands  upright  in  the  centre,  holding  a  basket 
of  flowers  in  her  left  hand,  her  right  holding  a  pink  scarf  which  falls  over 
her  arm.  She  has  dropped  some  of  the  flowers  out  of  her  basket,  some  lying 
at  her  feet,  and  some  caught  in  the  folds  of  her  white  satin  dress.  There  is 
a  bright  blue  ribbon  tied  round  her  waist.  A  small  lace  cap  covers  the  back  of 
her  curly  auburn  hair.  She  seems  to  be  about  five  or  six  years  of  age,  and  she 
looks  straight  at  the  spectator  with  that  arch  look  of  suppressed  merriment 
which  we  find  in  the  'Miss  Bowies',  now  in  the  Wallace  Collection,  and  in  so 
many  of  Reynolds's  delightful  portraits  of  children. 

Her  brother,  a  lad  some  two  years  older,  kneels  on  her  right  picking  up 
the  flowers  she  has  dropped.  His  expression  is  graver  than  that  of  his  sister, 
but  his  thoughtful  face  is  as  charming,  as  truthful  and  convincing,  as  any  boy's 
portrait  painted  by  Reynolds  in  after-life.  The  boy's  rather  elaborate  blue 

P2 


io8  TWO   EARLY  WORKS  OF 

Van  Dyck  costume  is  trimmed  with  ermine.  A  yellow  (or  light  brown)  scarf 
is  tied  round  his  waist.  His  grey  felt  hat  trimmed  with  blue  lies  on  the  ground 
beside  him.  He  kneels  on  his  right  knee,  his  left  hand  holding  some  of  the 
flowers  he  has  just  picked  up. 

In  front  of  the  two  children  is  placed  a  lamb  round  whose  neck  they  have 
hung  flowers  and  a  blue  ribbon.  The  lamb's  figure  is  the  weakest  point  in  the 
picture ;  it  is  badly  observed  and  wooden,  but  it  forms  an  important  link  in  the 
design,  breaking  the  straight  lines  of  the  stone  step  and  connecting  the  two 
children  with  the  tall  figure  of  their  tutor. 

The  tutor  stands  in  the  right  of  the  picture,  his  left  leg  raised  on  the 
step,  his  right  placed  on  the  grass.  His  body  faces  towards  the  children,  but 
his  head  looks  over  his  left  shoulder  at  the  spectator.  He  is  a  young,  clean- 
shaven man,  wearing  his  own  hair.  He  is  dressed  in  dark  brown,  the  only 
touch  of  positive  colour  in  his  costume  being  the  corner  of  his  blue  satin  waist- 
coat which  peeps  out  from  under  his  coat.  He  holds  a  book  in  his  left  hand,  his 
right  being  placed  on  his  breast. 

The  horizon  is  low  down  in  the  picture,  so  that  most  of  the  tutor's  figure 
is  relieved  against  the  sky.  The  left  half  of  the  background  is  filled  with 
a  dark  brown  pillar  and  dark  red  curtain,  the  straight  line  of  the  pillar  which 
falls  just  behind  the  head  of  the  girl  being  broken  by  the  freely  painted  branches 
and  foliage  of  a  tree. 

The  general  colour  effect  of  the  picture  is  higher  in  key  and  brighter  and 
fresher  than  in  Reynolds's  later  works.  There  is  also  less  contrast  between 
the  lights  and  shadows.  The  flesh,  both  in  the  faces  and  hands,  is  delightfully 
fresh  in  colour,  the  warm  shadows  being  mostly  put  in  with  burnt  sienna,  with 
Venetian  red  for  the  accents,  reinforced,  in  the  girl's  head,  with  Vandyck 
brown. 

The  handling  of  the  paint  is  vigorous  and  free,  loose  and  fluid  in  the  back- 
ground and  in  the  tutor's  figure  and  face,  and  more  solidly  built  up  in  the  chief 
lights  which  fall  on  the  boy  and  girl.  The  lovely  carnations  of  the  young  girl's 
face  and  neck,  and  her  vivid  white  dress  set  off  by  the  bright  colours  of  the 
flowers  and  ribbons,  are  skilfully  connected  with  the  highest  lights  in  the  sky. 
The  gay  rich  colours  prove  the  original  bent  of  Reynolds's  genius.  He  was 
a  born  colorist,  before  the  example  of  the  Bolognese  painters  and  their  theories 
about  '  historical  colouring '  led  him  to  paint  for  many  years  almost  in  mono- 
chrome, and  to  regard  positive  colour  as  one  of  the  deadly  artistic  sins.  It  was 
only  towards  the  end  of  his  career  that  his  natural  love  of  colour  asserted  itself 
again,  but  he  could  never  recapture  the  freshness  and  careless  gaiety  of  colour 
of  his  youthful  work. 

Of  the  artist's  relations  with  the  Neate  family  and  the  conditions  under 
which  the  picture  was  painted  we  know  almost  nothing.  There  is  a  tradition  in 


SIR  JOSHUA  REYNOLDS  109 

the  Neate  family  that  the  father  of  the  two  children  was  a  friend  of  the  young 
artist,  and  a  diary  once  in  the  possession  of  Miss  Eleanor  Neate  recorded  a 
payment  to  Reynolds  for  a  portrait,  but  the  sum  mentioned  was  thought  too 
small  to  apply  to  this  portrait  group.  An  old  label  on  the  back  of  the  picture 
gives  us  a  little  help ;  it  says  :— 

'  Boy  the  paternal  grandfather  of  the  Rev.  A.  Neate. 
Girl  sister  of  the  above  married  -  -  Williams  of  — ,  Esqre 
Tall  figure  Needham  tutor  of  the  Boy. 

Painted  by  Sir  Joshua  Reynolds'. 

The  picture  is  mentioned  in  Cotton's  list  of  Reynolds's  works  (p.  55),  as 
'  Thomas  Neate  and  his  Sister.  Children  of  Mr  Neate,  of  Binfield,  Berks,  with 
their  tutor '.  Graves  and  Cronin  copy  this  entry,  altering  the  name,  evidently  in 
error,  to  '  Neete '.  They  say  that  it  belonged  in  1857  to  the  Rev.  A.  Neate,  and 
add  that  '  a  portrait  of  the  Neete  (Neate)  family  by  Reynolds  was  offered  to  the 
National  Portrait  Gallery,  17  Jan.  1870,  by  Miss  Mary  Neete  (Neate)  of  Bampton, 
Farringdon  '.  It  passed  by  inheritance  to  Commander  Charles  B.  Neate,  R.N., 
who  died  in  1916,  and  we  have  to  thank  his  son,  Captain  Arthur  C.  Burnaby 
Neate,  R.F.A.,  for  his  kindness  in  permitting  us  to  photograph  and  publish  this 
interesting  example  of  Reynolds's  work. 

The  two  children  represented  in  the  portrait  are  Thomas  Neate  and  his 
sister  Martha,  who  became  afterwards  Mrs.  Williams.  The  earliest  mention  of 
Thomas  Neate  we  can  find  in  the  ordinary  books  of  reference  is  the  statement,  in 
Burke's  Landed  Gentry,  that  his  daughter  Amelia  married  Allen  Edward  Young, 
Esq.,  of  Orlingbury,  Co.  Northampton,  in  1804.  He  is  mentioned  in  Lyson's 
Magna  Britannia  (vol.  i,  p.  241)  as  living  in  Pope's  House,  Binfield,  Co.  Berks, 
in  1806,  but  it  is  not  stated  how  long  he  had  been  established  there.  Pope 
resided  at  Binfield  till  he  purchased  the  villa  at  Twickenham  in  1719,  so  the 
Neates  may  have  been  living  there  in  1748,  when  Reynolds  painted  the  two 
children,  but  we  have  found  no  evidence  bearing  on  the  point.  In  1807  Thomas 
Neate's  wife  died  (Gentleman  s  Magazine,  1807,  p.  789).  He  himself  died  in 
March  1825,  aged  84  (Gentleman's  Magazine,  1825),  so  he  was  born  in  1741,  and 
was  seven  years  old  when  Reynolds  painted  his  portrait.  His  will  is  preserved 
at  Somerset  House.  It  was  made  on  November  2,  1814.  In  it  he  mentions  his 
sister,  Mrs.  Martha  Williams,  so  she  too  lived  to  a  good  old  age,  and  a  '  Miss 
Mary  Williams  of  Monmouth  '.  Other  names  mentioned  are  his  son,  the  Rev. 
Thomas  Neate  and  his  wife  Catherine,  his  two  unmarried  daughters,  Charlotte 
and  Martha  (Charlotte  became  the  wife  of  Mr.  John  Hodgson  by  the  time  the 
will  was  proved),  and  his  married  daughter,  Amelia,  wife  of  Mr.  Young  of 
Orlingbury.  He  seems  to  have  been  in  easy  circumstances,  for  besides  the 


i io    TWO  EARLY  WORKS  OF  SIR  JOSHUA  REYNOLDS 

house  and  land  he  left  a  sum  of  .£7000,  shares  in  a  lead  company,  gold  and  silver 
cups  and  plate,  a  chariot  and  horses,  saddle  horses,  &c. 

One  would  naturally  like  to  know  more  about  the  bewitching  young  girl 
who  became  in  after  life  Mrs.  Martha  Williams,  but  we  have  not  been  able  to 
discover  any  further  information. 


PLATE    XL1V 


PORTRAIT    SUPPOSED    TO    REPRESENT    FRANCES    HOWARD,    COUNTESS    OF 
ESSEX    AND    COUNTESS    OF    SOMERSET    (ol>.   1632) 

PROBABLY    BY    MARCUS    GHEERAERTS    THE    YOUNGER 
Wtlbeck  Abbey  Collection  ;No.  187) 


AN  ADDITIONAL  GHEERAERTS   ILLUSTRATION 

BY  RICHARD  W.  GOULDING. 
WELBECK  ABBEY  COLLECTION,   NO.  187. 

PORTRAIT  SUPPOSED   TO   REPRESENT   FRANCES   HOWARD,   COUNTESS  OF  ESSEX 
AND  COUNTESS  OF  SOMERSET,  ob.  1632. 

Probably  by  Marcus  Gheeraerts  the  younger. 

Three-quarter  length  standing  to  sinister  in  an  elaborate  night-rail,  fastened 
at  the  neck,  otherwise  partly  open  to  the  waist ;  it  is  embroidered  in  coloured 
silks  with  flowers,  leaves,  and  insects,  has  a  point-lace  collar  and  cuffs,  and  is 
also  edged  down  the  front  with  point-lace ;  white  apron.  Her  hair  is  brushed 
back  from  the  forehead,  and  falls  in  two  masses  over  her  shoulders — that  on 
the  left  is  already  unplaited,  and  she  is  engaged  in  undoing  the  plait  on  the 
right ;  pearl  drop  in  each  ear ;  a  jewelled  ring  on  the  third  finger  of  right  hand, 
a  plain  red  circlet  on  the  fourth  finger  of  the  left ;  on  her  right  wrist  a  bracelet 
set  four  square  with  pearls  and  jewels  alternately ;  in  front  of  her  is  a  dressing 
table  covered  with  a  red  and  white  embroidered  cloth ;  on  it  lie  an  ivory  comb, 
a  brush,  and  a  mirror  in  which  the  lace  of  her  left  cuff  is  reflected.  Green 
curtain  in  background,  on  the  sinister  side  of  which  is  pinned  a  ribbon,  from 
which  depend  a  key  and  an  octagonal  case  probably  containing  a  watch. 

Canvas  36!  x  26|  ins. 

Formerly  in  the  Earl  of  Southampton's  collection  at  Titchfield  Abbey. 
Thence  removed  to  Bulstrode  (having  been  inherited  by  Elizabeth  Duchess  of 
Portland,  great-grand-daughter  of  the  fourth  Earl  of  Southampton),  and  thence 
transferred  to  Welbeck  Abbey. 

In  respect  of  face  this  portrait  much  resembles  one  (also  called  Countess  of 
Essex)  reproduced  as  plate  LIII  in  Mr.  J.  J.  Foster's  The  Stuarts  (1902),  from  an 
original  belonging  to  Mr.  Charles  Butler. 


THE   PAPERS  OF  THE   SOCIETY   OF  ARTISTS 
OF  GREAT   BRITAIN 

INTRODUCTION 

ON  the  i2th  of  November,  1759,  the  artists  of  London  met  to  appoint  and 
choose  a  Committee  to  make  arrangements  for  holding  an  annual  exhibition  of 
their  works.  The  painter  who  headed  the  list  of  the  Committee  which  was  then 
chosen  was  Joshua  Reynolds,  and  Mr.  Francis  Milner  Newton  was  appointed 
secretary  to  the  Committee.  In  Newton's  minute  of  this  meeting  he  speaks  of 
the  body  of  artists  as  '  this  Society ',  but  it  was  evidently  a  very  loosely  consti- 
tuted Society.  The  chief  business  of  this  'Society'  before  1759  seems  to  have 
been  the  holding  of  an  annual  feast  on  St.  Luke's  Day,  a  festival  which  had 
been  celebrated  in  London  since  Van  Dyck's  time,  if  not  earlier.  Probably  all 
artists  who  happened  to  be  in  London  at  the  time  of  this  festival  were  eligible 
to  attend  the  gathering,  and  the  '  Society '  which  called  the  meeting  of  the 
T2th  of  November,  1759,  was  apparently  constituted  on  the  same  liberal  basis. 

The  exhibition  which  was  the  outcome  of  this  meeting  was  opened  to  the 
public  on  the  2ist  of  April,  1760.  The  catalogue  described  it  as  an  exhibition  of 
Pictures,  Sculptures,  &c.,  'of  the  Present  Artists' — a  correct  and  non-committal 
expression.  The  exhibitors  apparently  were  any  artists  living  in  Great  Britain 
who  chose  to  submit  any  of  their  works  to  the  Committee,  and  whose  works 
were  accepted  for  exhibition.  After  this  first  exhibition  the  '  Society '  seems  to 
have  been  confined  only  to  this  body  of  exhibitors.  In  a  letter  addressed  to 
the  Society  of  Arts,  &c.,  on  I2th  May,  1760,  the  chairman  of  the  Committee 
returns  thanks  for  the  use  of  the  exhibition-room  in  the  name  of  '  the  Artists 
whose  works  appeared  in  the  late  Exhibition '.  Before  the  next  exhibition  this 
body  became  divided,  one  set  of  artists  continuing  to  use  the  room  of  the  Society 
of  Arts,  the  other  hiring  the  Great  Room  in  Spring  Gardens,  and  calling 
themselves,  on  the  catalogue  of  their  exhibition,  '  the  Society  of  Artists  of 
Great  Britain '.  The  date  of  the  opening  of  this  second  exhibition  was  the 
9th  of  May,  1761.  The  question  of  the  enrolment  of  the  Society  was  not 
raised  till  November  1763,  and  it  was  not  actually  incorporated  till  26th 
January,  1765. 

For  the  sake  of  convenience  we  may  be  allowed  to  speak  of  the  Papers  of 
the  exhibition  society  which  began  operations  on  the  i2th  of  November,  1759, 
as  the  papers  of  the  Society  of  Artists  of  Great  Britain,  and  after  these  explana- 

VI.  Q 


ii4  PAPERS  OF  THE  SOCIETY  OF 

tions  it  is  to  be  hoped  that  no  confusion  will  be  caused  by  doing  so.  This 
Society  continued  in  existence  till  1807,  though  its  last  exhibition  was  held  in 
1791.  The  papers  and  books  of  the  Society  then  came  into  the  hands  of 
Mr.  Charles  Taylor,  the  son  and  executor  of  Isaac  Taylor,  the  last  secretary 
of  the  Society,  who  published  some  extracts  from  them  in  The  Literary  Pano- 
rama, vol.  iii,  1807-1808,  pp.  809-813,  1013-1014,  1226-1229,  and  then  trans- 
ferred them,  on  the  22nd  of  February,  1808,  to  the  care  of  Mr.  Robert  Pollard, 
the  last  surviving  member  of  the  Society.  In  1836  Mr.  Pollard  handed  these 
documents  to  the  Royal  Academy  of  Arts,  and  Pye  (in  his  Patronage  of  British 
Art,  p.  136)  prints  the  following  receipt  which  was  given  for  them  :— 

'  Royal  Academy  of  Arts,  London. 
28th  Oct.  1836. 

I  hereby  acknowledge  to  have  received  of  Mr.  Robert  Pollard,  fellow  and 
director  of  the  Royal  Incorporated  Society  of  Artists  of  Great  Britain, — 

ist.  A  Box,  containing  the  papers  and  letters  of  the  said  Society,  from 
1760. 

2nd.  A  parcel  of  books,  containing  the  minutes  of  the  directors,  and  of  the 
general  meetings  of  the  Society. 

3rd.  His  majesty's  royal  charter,  contained  in  a  case,  being  the  original 
documents  of  the  said  Society. 

(Signed).     MARTIN  ARCHER  SHEE,  P.R.A. 

By  Order,  HENRY  HOWARD,  R.A.  Sec.' 

These  documents,  since  they  passed  into  the  possession  of  the  Royal 
Academy,  have  been  accessible  to  all  engaged  in  historical  research.  Samuel 
Redgrave  must  certainly  have  consulted  these  papers,  for  there  is  a  good  deal 
of  information  in  his  Dictionary  of  Artists  of  the  English  School  which  could  have 
been  derived  from  no  other  source.  Redgrave's  information,  however,  has 
proved  to  be,  on  a  careful  examination  of  the  papers,  so  often  inaccurate  that 
one  is  led  to  assume  that  his  study  of  these  documents  must  have  been  rather 
hasty  and  careless. 

A  more  recent  historian,  Mr.  William  Whitley,  has  made  better  use  of  the 
papers.  All  the  facts  relating  to  Gainsborough's  connexion  with  the  Society  of 
Artists  are  given  fully  and  accurately  in  Mr.  Whitley's  admirable  Life  of  Thomas 
Gainsborough.  But  Mr.  Whitley  was  concerned  only  with  the  references  to 
Gainsborough  among  the  papers.  He  was  not  concerned  with  the  historical 
value  of  the  papers  as  a  whole. 

The  attention  of  the  Committee  of  the  Walpole  Society  was  first  drawn  to 
these  papers  by  Mr.  George  Clausen,  R.A.,  in  1913.  Permission  to  examine  the 
documents  was  readily  and  most  courteously  granted  to  two  members  of 
the  Committee  by  the  President  and  Council  of  the  Royal  Academy.  When 


ARTISTS  OF  GREAT   BRITAIN  115 

Mr.  C.  E.  Hugh'es  and  Mr.  Finberg  came  to  examine  the  papers  they  found  that 
they  had  all  been  carefully  preserved  exactly  in  the  order  in  which  they  had 
been  received  by  the  Academy  when  they  first  came  into  its  possession.  There 
were  two  sets  of  Minute  Books,  one  dealing  with  the  Directors'  meetings,  the 
other  with  the  general  meetings  of  the  Society,  while  the  correspondence, 
accounts,  and  miscellaneous  papers  were  done  up  in  separate  brown-paper 
parcels.  Before  one  could  grasp  the  full  significance  of  the  whole  it  became 
evident  that  these  three  sets  of  documents  would  have  to  be  brought  together  in 
strict  chronological  order  and  collated.  It  was  impossible  to  do  this  with  the 
documents  themselves,  as  the  Academy  very  naturally  did  not  wish  to  have 
the  original  arrangement  of  the  parcels  disturbed.  It  therefore  became  necessary 
to  transcribe  the  whole  of  the  documents  before  arrangements  could  be  made  to 
publish  them,  or  any  part  of  them,  or  even  before  the  Committee  could  feel 
confident  that  they  were  of  sufficient  historical  value  to  warrant  publication. 

The  difficult  and  laborious  task  of  making  such  a  transcription  was  under- 
taken by  Mrs.  Finberg,  who  began  it  in  January  1916,  and  copied  the  last 
sheets  in  July  of  the  same  year,  the  Secretary,  Librarian,  and  Registrar  of  the 
Academy  very  kindly  giving  her  every  assistance  in  their  power.  Mrs.  Finberg's 
transcripts  were  then  arranged  in  chronological  order,  and  she  completed 
the  work  by  compiling  a  full  index  of  the  names  of  artists  mentioned  in  the 
papers. 

When  the  whole  of  these  documents  were  in  this  way  reduced  to  coherence 
and  order,  their  historical  value  and  interest  became  clearly  manifest.  The 
plain  unvarnished  history  of  the  first  exhibition  society  formed  by  British  artists 
was  found  to  be  revealed  in  detail  for  the  first  time.  Fresh  light  was  thrown  on 
the  series  of  internal  dissensions  which  in  a  few  years  wrecked  the  Society. 
The  names  of  students  admitted  to  work  at  the  Life  and  Plaster  Academies  of 
the  Society,  the  applications  for  charity,  and  the  lists  of  payments  to  distressed 
artists,  their  widows  and  children,  supplied  new  biographical  information  about 
a  number  of  artists.  Taken  together,  these  papers  furnish  us  with  a  most 
welcome  addition  to  our  knowledge  of  a  very  obscure  period  in  the  history  of 
British  art  and  artists.  As  a  source  of  information  about  the  lesser  known 
artists  of  the  time  they  are  especially  valuable. 

It  has  been  decided  to  publish  as  much  of  Mrs.  Finberg's  transcription  of 
these  papers  as  seems  of  historical  interest,  and  although  parts  will  be  sum- 
marized, the  original  wording  of  minutes,  resolutions,  &c.,  will  be  preserved 
where  there  seems  to  be  any  advantage  in  doing  so.  Care  has  been  taken  to 
omit  no  artist's  name  which  occurs  in  any  connexion  among  the  papers. 

We  publish  in  this  volume  the  first  instalment,  which  covers  the  period 
from  November  1759  to  July  1761.  The  remainder  will  be  published  in  future 
volumes  as  it  is  found  convenient. 

Q2 


n6  PAPERS  OF  THE  SOCIETY   OF 


CALENDAR  OF  PAPERS  FROM  12  NOV.  1759  TO  31  JULY  1761 

(Title  on  Cover  of  Minute  Book)    THE  MINUTES  OF  THE  GENERAL  MEETING  OF  THE  ARTISTS 
AND  OF  THE  COMMITTEE  FOR  MANAGEING  THE  PUBLIC  EXHIBITION,  1760. 

Turks  Head  Tavern  in  Gerrard  Street  Soho. 
Monday  12th  November.  1759. 

At  a  General  Meeting  for  considering  a  Proposal  made  by  the  Artists  at  their 
Anniversary  Meeting  on  the  5th  of  November  at  the  Foundling  Hospital,  in  order  to 
encourage  Artists  whose  Abilities  and  Attainments  may  justly  raise  them  to  Distinction 
who  otherwise  might  languish  in  Obscurity  and  that  their  several  Abilitys  may  be  brought 
to  Public  View. 

RESOLVED.  That  once  in  every  year,  on  a  day  in  the  second  week  of  April  at  a  place 
that  shall  be  appointed  by  a  Committee  for  carrying  this  Design  into  Execution,  to  be 
chosen  Annually.  Every  Painter,  Sculptor,  Architect,  Engraver,  Chaser,  Seal-cutter,  and 
Medallist  may  exhibit  their  several  Performances. 

That  besides  the  above  Intention  of  Producing  to  Public  View  encourageing  the  Arts 
and  paying  the  Charge  that  may  attend  the  Exhibition  of  the  Performances  of  the  Artists. 

The  intention  of  this  Meeting  is  to  endeavour  to  procure  a  sum  to  be  distributed  in 
Charity  towards  the  support  of  those  Artists  whose  Age  and  Infirmity's  or  other  lawful 
Hindrances  prevent  from  being  any  longer  candidates  for  Fame. 

It  is  therefore  Resolved.  That  the  sum  of  one  Shilling  be  taken  Daily  of  each  Person 
who  may  come  to  visit  the  said  performances. 

Resolved.  That  every  Artist  do  pay  Half  a  Crown  on  his  producing  his  Performance 
to  the  Committee  to  whom  it  is  referred  to  make  any  farther  Regulations  in  order  to  carry 
this  Design  into  Execution. 

Resolved.  That  the  Number  of  the  Committee  be  sixteen  to  consist  of  Artists  of  the 
following  Denominations  and  the  Secretary,  viz' 

6  Painters  2  Engravers  i  Medallist 

2  Sculptors  i  Seal  Cutter  The  Secretary 

2  Architects  i  Chaser 

The  following  Gentlemen  having  been  Ballotted  for  were  chosen  for  a  Committee  for 
the  Manageing  this  Design  from  this  Day  to  the  2nd  Monday  in  May— or  till  another 
Committee  may  be  chosen,  viz' 

Messrs.  REYNOLDS 
(Francis)1  HAYMAN 

RICH"  WILSON 
(Samuel)  WALE 
(Richard)  DALTON 

N  EWTON 

(Joseph)  WILTON  (Richard)  YEO  Medallist 

(William)  COLLINS  I  SculPtors 

1  Christian  names  when  printed  in  italic  between  brackets  are  not  in  the  original  text ;  they  are 
supplied  to  facilitate  identification. 


(William)  CHAMBERS  )    .     ... 

-rc  Architects 

T.  SANDBY  ) 

p  .                           (Christopher)  SEATON  Seal  Engraver 

(Robert)  STRANGE  )    t, 

ir-j       .A  D  i    Engravers 
(Edward)  ROOKER 

(George  Michael)  MOSER  Chaser 


ARTISTS  OF  GREAT   BRITAIN  117 

Mr.  NEWTON  accepting  of  the  Office  of  Secretary,  Mr.  (Nathaniel)  HONE  was  added  he 
being  the  next  in  Number. 

Resolved.    That  five  of  the  said  Committee  be  a  Quorum. 

Resolved.  That  the  next  General  Meeting  of  this  Society  be  on  the  last  Wednesday 
in  March  next,  at  such  Place  as  the  Committee  shall  appoint. 

Resolved.  That  the  Committee  do  meet  on  Saturday  the  Ist  of  December  next,  at 
6  o'clock  precisely  at  the  Turk's  Head  in  Gerrard  Street. 

FRA:  MILNER  NEWTON  Secy. 

1  Dec.  1759.1     This  Evening  the  Committee  met,  the  following  Gent.  Present. 

Messrs.  Chambers,  Collins,  Dalton,  Hayman,  Hone,  Moser,  Newton,  Rooker,  Seaton, 
Strange,  Wale,  Wilson,  Wilton,  Yeo. 

It  being  proposed  to  make  a  choise  of  a  Chairman— Mr.  HAYMAN  was  chosen  Nem:  Con: 

Resolved  Nem.  Con.  That  no  Picture  coppyed  from  a  Picture,  or  Print  from  a  Print, 
or  Drawing  from  a  Drawing,  Engraving  from  an  Engraving,  Medal  from  a  Medal,  Chasing 
from  a  Chasing— or  a  Coppy  from  a  Model — or  any  Coppy  be  admitted. 

Resolved.    That  this  Committee  do  meet  on  Saturday  22nd.     Adjourned. 

F.  M.  NEWTON  Secy. 

22  Dec.  1759.    At  a  Committee  Present— Mr.  HAYMAN  in  the  Chair. 

Messrs.  Collins,  Dalton,  Hone,  Newton,  Rooker,  Seaton,  Strange,  Wale,  Wilson, 
Wilton,  Yeo. 

[The  Minutes  of  last  Committee  read  and  confirmed. 

It  was  resolved  to  make  application  to  the  Noblemen  and  Gentlemen  of  the  Society  of 
Arts  to  obtain  their  Room  for  the  Exhibition.  Adjourned  to  Saturday,  igth  Jany.  1760?] 

F.  M.  NEWTON.  Secy. 

19  Jan.  1760.    At  a  Committee  Present— Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Collins,  Dalton,  Moser,  Rooker,  Sandby,  Seaton,  Wale,  Wilson, 
Wilton,  Yeo. 

Resolved.  That  Mr.  (Samuel)  Johnson  may  have  the  Form  of  a  Letter  drawn  up  by 
this  Society  to  correct,  in  order  to  be  sent  to  the  Society  for  the  Encouragement  of  Arts,  &c. 
to  sollicite  the  Use  of  their  Room  for  the  Exhibition.  Adjourned  to  Sat.  2ud  Feby. 

2  Feb.  1760.    At  a  Committee  Present — Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Dalton,  Hone,  Moser,  Reynolds,  Seaton,  Strange,  Wale,  Wilson 
Wilton,  Yeo. 

[The  next  Committee  meeting,  for  purpose  of  'perusing  the  Letter  given  to  Mr. 
Johnson  for  his  correction ',  was  fixed  for  Saturday,  gth  Feby.,  but  postponed  till  the  26th.] 

26  Feb.  1760.    At  a  Committee  Present— Mr.  HAYMAN  in  the  Chair. 

Messrs.  Moser,  Newton,  Reynolds,  Rooker,  Seaton,  Strange,  Wale,  Wilson,  Wilton. 

1  All  meetings  are  at  the  Turk's  Head,  unless  another  meeting-place  is  specified. 
•  A  precis  only  is  given  when  the  entries  are  in  square  brackets. 


ii8  PAPERS  OF  THE  SOCIETY  OF 

Resolved.  That  the  following  letter  with  the  Plan  inclosed  be  sent  to  the  Society  for 
the  Encouragement  of  Arts,  &c.,  and  that  it  be  signed  by  Mr.  Hayman  as  Chairman,  and 
that  it  be  directed  to  the  Secretary  of  the  Society — 

'SiR, 

The  Artists  of  this  City  having  resolved  to  raise  a  sum  for  Purposed  of  Charity 

by  the  Annual  Exhibition  of  their  Works  entreat  the  Society  to  allow  them  the  Use  of 
their  Room  from  the  7th  of  April  to  the  19th.  This  favour  they  consider  as  very  important. 
The  Publick  concurrence  of  the  Society  will  give  to  a  new  Practice  that  Countenance  which 
Novelty  must  always  need,  and  the  Arts  will  gain  Dignity  from  the  Protection  of  those 
whom  the  World  has  already  learned  to  respect. 

I  am,  Sir,  Your  most  Humble  Servant 

F.  HAYMAN.  Chairman.' 
The  Plan  inclosed. 

'  It  has  been  lamented  that  notwithstanding  the  general  disposition  to  encourage 
Artists,  now  prevailing  in  this  Nation,  many  Men  whose  Abilitys  and  Attainments  might 
justly  raise  them  to  Distinction,  languish  in  Obscurity ;  there  being  no  certain  or  establish'd 
method  by  which  Regard  may  be  modestly  Sollicited,  or  the  Publick  Eye  attracted  to  merit. 

A  Proposal  was  therefore  made  to  the  Artists  at  their  Annual  Meeting  on  St.  Luke's 
Day,  1759,  that  every  Painter,  Sculptor,  Architect,  Engraver,  Enchaser,  Seal  Cutter  and 
Medallist  should  exhibit  Once  a  Year,  at  a  Place  appointed,  a  Specimen  of  his  Art,  that  the 
Judges  and  Patrons  of  Merit  may  have  at  Once  under  their  View  the  present  State  of 
the  Arts  in  England. 

Eleganc  and  Ingenuity  are  most  valuable  when  they  contribute  to  the  Purposes  of 
Virtue ;  it  is  therefore  resolved  that  the  just  advantage  of  this  Exhibition  shall  be  destin'd 
to  the  Support  of  those  Artists  whose  Age,  Infirmities  or  other  lawful  Hindrances  suffer 
them  to  be  no  longer  Candidates  for  Praise.  A  Shilling  shall  be  taken  at  the  Door,  from 
every  One  that  enters,  and  the  sum  so  collected,  shall  be  placed  in  the  Hands  of  Trustees 
chosen  by  the  Artists,  and  publickly  declared  in  the  Daily  Papers.' 

18  March,  1760.     At  a  Committee  Present— Mr.  HAYMAN  in  the  Chair. 

Messrs.  Collins,  Dalton,  Hone,  Moser,  Newton,  Reynolds,  Seaton,  Strange,  Wale, 
Wilson,  Wilton,  Yeo. 

Letter  received  from  the  Society  of  Arts : — 

'SiR, 

I  am  order'd  by  the  Society  for  the  Encouragement  of  Arts,  Manufactures  & 
Commerce  to  acquaint  you  that  the  Proposition  sent  in  by  you  as  Chairman  of  the  Com- 
mittee of  Artists  is  accepted  of  by  that  Society,  except  that  part  which  relates  to  the  taking 
the  shilling  at  the  Door.  The  Society  have  consented  that  such  Exhibition  be  from  the 
2i8'  Day  of  April  to  the  3rd  Day  of  May  next  ensuing. 

I  am.  &c. 

GEO:  Box. 
To  Mr.  Fra:  Hayman.  Secy.' 

Resolved.    That  a  general  meeting  be  called  Wednesday  Sevennight  26th  inst. 

26  March,  1761  (71760).  At  a  General  Meeting,  Present  several  Gentlemen- 
Mr.  HAYMAN  in  the  chair. 

Resolved.  That  a  Letter  be  sent  to  all  those  Gentlemen  who  have  sett  down  their 
Names— as  follows— 


ARTISTS   OF  GREAT   BRITAIN  119 

'SIR, 

This  is  to  acquaint  you  that  next  Wednesday  the  2nd  April  is  appointed  for 
the  last  (?next)  General  Meeting  of  the  Artists.  You  are  desired  to  attend  at  6  o'clock  in 
the  evening.' 

2  April,  1760.     General  Meeting.    Present  several  gentlemen—  Mr.  HAYMAN  in  the  Chair. 

Resolved.    That  Tuesday  sevennight  be  the  Day  for  sending  the  several  Performances 
—and  that  they  be  sent  to  the  Society's  Office  in  the  Strand. 

That  every  Artist  send  his  name  and  the  subject  of  his  Performance. 

That  a  Catalogue  be  printed  and  that  the  price  be  6d. 

Order'd.    That  the  Day  for  sending  the  Performances  be  advertised.' 

(The  Exhibition  was  opened  on  aist  April,  1760,  in  the  Room  of  the  Society  of  Arts,  which 
at  that  time  was  in  the  Strand,  opposite  Beaufort  Buildings  (Pye,  92  n.).  A  List  of  the  Artists 
exhibiting  is  given  in  Pye  (p.  93).  'The  objection  raised  by  the  Society  to  taking  money  at  the 
door  of  the  exhibition  was  removed  by  admitting  the  public  gratis,  and  charging  sixpence  for 
each  catalogue  sold  '  (Pye,  p.  93).) 

LOOSE  PAPERS.     No.  7.     Society's  Papers,  &c.  &c.     1760. 

(1)  Account    of  the    Receipts   &    Disbursements    at    the    Public    Exhibition,   April 
21"  1760.    (See  below.) 

(2)  Mr  Reeves  Printer  his  seconde  Bill—  order'd  to  be  paid  &  paid  17th  May.  1760. 


(3)  Reevs  Bill  1760  for  printing. 

First  Bill—  not  paid  —  as  over  Charged. 

No.  7  (i).    Account  of  the  Receipt  and  the  Disbursments  at  the  Publick  Exhibition 
April  21"  1760.  . 

CASH   RECEIVED   AT  THE    EXHIBITION   2I8t   APRIL    1760. 

For  6582  Catalogues  at  6d  each     £164  n     o 
Disbursments    ....        160  15    o 

Ballance  remaining  in  Cash      .        £3  16    o 


ACCOUNT  OF  THE  DISBURSMENTS. 

£  s.   d. 

To  several  Advertisements  and  Postage  of  Summondses        .        .  2  12    6 
Paid  Mr.  Shipleys  Servant  a  Bill  for  sundry  Expences  i  •  i  -o  given 

Ditto  i-r-o 220 

Paid  Mr.  Shipley  for  extra  Servants 120 

Given  the  Society's  Porter .  i  i  r    6 

To  a  Boy  for  going  on  several  Errands 050 

Beer  for  the  Men  at  several  Times  .                 .        .  030 

Paid  Mrs.  Basston  for  her  attendance      .                .  440 

Paid  Mr.  Langford's  Man  for  his  Trouble o  10    6 

Paid  John  Malin  for  himself  and  Son 10  10    o 

Paid  Mr.  Weston  Carpenter  for  hanging  the  Pictures  &c.      .        .  i     i     o 

Paid  Mr.  Woodin  for  Windows  broke o  13    6 

Paid  for  Constables o  15    o 


120  PAPERS   OF  THE   SOCIETY  OF 

Paid  Mr.  Reeve  his  Bill  for  Printing  the  Catalogues       .         .         .  36  n     6 

Paid  Duty  for  Ditto  at  the  Stamp  Office 040 

A  Piece  of  Plate  presented  to  Mr.  Newton 16    7    o 

Paid   for  the    Purchase  of  £100-0-0    3  pr  O  Annuities    1759 

&  Commission  82     2     6 


£160  15    o 

12  May,  1760.    At  a  Committee,  Present — Mr.  HAYMAN  in  the  Chair. 

Messrs.  Hone,  Moser,  Newton,  Reynolds,  Seaton,  Strange,  Wale,  Wilson,  Wilton, 
Yeo. 

Resolved.  That  the  following  letter  of  thanks  be  sent  to  the  Society  signed  by 
Mr.  HAYMAN  as  Chairman  and  directed  to  Dr.  Templeman  the  Secretary. 

'SiR, 

You  are  requested  by  the  Artists  whose  Works  appeared  in  the  late  Exhibition 
to  return  their  sincerest  Thanks  to  the  Society  for  the  Use  of  their  Room  and  the  Honour 
of  their  Patronage.  Whatever  improvement  the  Arts  of  Elegance  shall  receive  from  the 
honest  Emulation  which  publick  Notice  may  excite  will  be  justly  ascribed  to  those  by 
whose  Example  the  Public  has  been  influenced. 

I  am,  &c. 

F.  HAYMAN,  Chairman  of  the  Committee.' 

Resolved.  That  a  Present  be  made  Mr.  NEWTON  for  the  Trouble  and  Care  he  has 
taken,  and  that  he  be  desired  to  accept  the  same.  That  the  Present  do  not  exceed  Twenty 
Guineas.  That  Mr.  MOSER  do  attend  Mr.  NEWTON  in  the  Choise  of  a  Piece  of  Plate  for  the 
purpose  above. 

Order'd.  That  Thanks  be  returned  to  Mr.  JOHNSON  for  his  great  assistance  to  the 
Committee  of  Artists  and  that  Mr.  REYNOLDS  return  the  same. 

Adjourned 

(sgd)  F.  M.  NEWTON.  Secy. 

15  May,  1760.    At  a  Committee,  Present — Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Collins,  Hone,  Moser,  Newton,  Reynolds,  Seaton,  Strange,  Wale, 
Wilson,  Wilton,  Yeo. 

[The  Secretary  was  authorized  to  pay  various  small  bills.] 

Resolved.  That  after  the  payment  of  all  Expences  the  Ballance  be  apply'd  to  the 
advancement  of  the  Academy. 

Resolved.    That  the  Ballance  be  immediately  laid  out  in  the  Stocks. 

Order'd.  That  a  General  Meeting  of  the  Artists  who  exhibited  be  called  on  Friday, 
23rd  inst.,  at  8  o'clock  in  the  Evening  at  the  Turk's  Head. 

Adjourned 

(sgd)     F.  M.  NEWTON.  Secy. 

23  May,  1760.  At  a  General  Meeting.  Present  several  Gentlemen.  Mr.  HAYMAN  in 
the  Chair. 

Mr.  HAYMAN  reported  that  after  payment  of  all  expenses  &  the  Purchase  of  £100-0-0 
3%  Annuities  in  the  Bank  &  in  the  name  of  Mr.  Francis  Milner  Newton— there  remained 
a  balance  of  £3-16-0. 

Resolved.    That  the  money  be  applied  towards  the  advancement  of  the  Arts. 


ARTISTS  OF  GREAT   BRITAIN  121 

That  Time  be  taken  to  consider  in  what  Manner  the  Money  may  be  best  applied  for 
the  above  Purpose. 

Resolved.  That  after  the  General  Meeting  has  come  to  a  Determination  in  what 
Manner  the  Money  shall  be  applied.  The  Execution  be  wholly  in  the  Committee. 

A  Motion  being  made  &  seconded — That  all  Future  Committees  should  be  open — The 
Question  being  put  it  passed  in  the  Negative. 

Adjourned  to  the  14th  Novr. 

(sgd)    F.  M.  NEWTON.  Secy. 

7  Nov.  1760.    At  a  Committee  Present — Mr.  HAYMAN  in  the  Chair. 

Messrs.  Collins,  Dalton,  Hone,  Moser,  Newton,  Seaton,  Wale,  Wilson. 

Resolved.  That  it  is  the  Opinion  of  this  Committee  that  the  present  Sum  of  £100-0-0 
3  %  Annuities  now  in  the  Bank  for  the  use  of  this  Society,  and  all  Monies  which  may  arrise 
at  any  future  Exhibitions  after  paying  the  charge  of  the  same,  the  Ballance  to  be  laid  out  in 
the  Funds,  there  to  remain  till  it  amounts  to  the  sum  of  £500-0-0  &  when  that  shall  happen 
the  Disposal  of  it  to  be  determined  by  the  Majority  of  this  Society. 

Resolved.  That  a  General  Meeting  be  called  Friday  the  14""  at  6  o'clock— and  that  it 
be  mentioned  to  choose  a  Committee  for  the  year  ensuing. 

Resolved.  That  it  is  the  Opinion  of  this  Committee  that  the  aranging  or  disposition 
of  the  Paintings,  Sculptures,  Models,  Designs  in  Architecture,  Engravings,  &c.,  to  Publick 
View,  BE  ABSOLUTELY  left  to  the  then  subsisting  Committee. 

Adjourned. 

(sgd)    F.  M.  NEWTON.  Secy. 

14  Nov.  1760.  At  a  General  Meeting.  Present  several  Gentlemen.  Mr.  HAYMAN  in 
the  Chair. 

This  Meeting  proceeded  to  the  Election  of  a  Committee  for  the  Year  ensuing 
Mr.  NEWTON  being  first  elected  Secretary. 

A  Ballot  being  taken  by  Mr.  LOCKMAN — the  following  Gentlemen  were  chosen,  viz*— 

Messrs.  HAYMAN  .     ,  .  (  CHAMBERS 

REYNOLDS  '  I  (John)  GWYNN 

(Edward)  ROOKER 

(James)  M°ARDELL 

DALTON  Seal  Engraver    (Christopher)  SEATON 

(Richard)  WILSON  Chaser    .        .  MOSER 

WILTON  Medallist         .  YEO 

COLLINS  Secretary        .  NEWTON 

Adjourned  till  summoned  by  the  Committee 

(sgd)    F.  M.  NEWTON.  Secy. 


Painters  .  < 


Sculptors 


r 
Engravers 


25  Nov.  1760.    This  Evening  the  following  chosen  on  the  Committee  met,  viz'. 

Messrs.  Hayman,  Hone,  McArdell,  Moser,  Newton,  Reynolds,  Seaton,  Wale,  Wilson, 
Wilton,  Yeo. 

Mr.  HAYMAN  was  unanimously  elected  Chairman  and  took  the  chair  accordingly. 

Resolved.  That  Application  be  made  to  the  Society  for  the  Encouragement  of  Arts, 
&c.,  for  the  use  of  their  Room.  That  the  Exhibition  be  the  beginning  of  June  in  order  that 
the  Pictures  offer'd  for  the  Premiums  may  be  removed.  The  Artists  having  found  great 

VI.  R 


122  PAPERS  OF  THE  SOCIETY   OF 

A> 

Inconvenience  in  lying  under  the  Imputation  of  loosing  those  Premiums  for  which  they 
were  not  Candidates. 

Great  Inconvenience  having  been  found  by  Inferior  People  crowding  last  Year. 

Resolved.  That  the  Catalogue  be  a  shilling  and  that  no  Person  be  admitted  without 
taking  one,  the  same  to  serve  as  a  Ticket. 

Resolved.  That  the  above  Minutes  be  the  substance  of  the  Letter  to  be  sent  to  the 
Society.  Mr.  REYNOLDS  is  desired  to  request  Mr.  JOHNSON  to  continue  his  good  Offices  to 
the  Artists. 

Adjourned  till  summoned  by  the  Chairman. 

(sgd)     F.  M.  NEWTON.  Secy. 

8  Dec.  1760.     Committee  Meeting.     Present,  Mr.  HAYMAN  in  the  Chair. 

Messrs.  Collins,  Gwynn,  Hone,  McArdell,  Moser,  Newton,  Reynolds,  Rooker,  Seaton, 
Wale,  Wilson,  Yeo. 

Mr.  Chairman  reported  that  he  had  received  the  Draught  of  a  Letter  from  Mr.  Johnson 
as  requested  last  Meeting— as  follows — 

'  SIR.  The  favour  conferred  last  Year  on  the  Artists  by  the  Society  has  encouraged 
them  to  solicite  the  use  of  their  Room  for  a  second  Exhibition. 

This  request  may  now  be  granted  with  less  inconvenience  to  the  Society,  as  the 
Exhibition  will  be  defered  to  June  a  month  in  which  the  Meetings  of  the  Society  are  more 
rare  than  in  the  Winter ;  the  Artists  being  desirous  that  the  Pictures  drawn  for  the  prize 
should  be  removed,  lest  any  man  should  a  second  time  suffer  the  disgrace  of  having  lost 
that  which  he  never  sought.  The  Exhibition  of  last  year  was  crowded  and  incommoded 
by  the  intrusion  of  great  Numbers  whose  stations  and  education  made  them  no  proper 
Judges  of  Statuary  or  Painting,  and  who  were  made  idle  and  tumultuous  by  the  opportunity 
of  a  shew. 

It  is  now  therefore  intended  that  the  Catalogues  shall  be  sold  for  a  shilling  each,  and 
none  allowed  to  enter  without  a  Catalogue  which  may  serve  as  a  ticket  for  admission. 

These  regulations  which  have  been  very  deliberately  formed  will  be  doubtless  thought 
expedient  and  useful,  and  the  Artists  flatter  themselves  that  the  improvement  of  National 
taste  which  will  be  promoted  by  comparing  the  works  of  different  Performers,  is  not 

unworthy  of  the  care  of  the  Society. 

I  am,  &c.' 

The  above  Letter  was  agreed  to  with  the  addition  of,  the  beginning  of  June. 
Order'd.    That  it  be  sent  next  Wednesday. 

Adjourned  till  an  answer  be  received  from  the  Society. 

16  Jan.  1761.    A  Committee,  Present— Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Gwynn,  McArdell,  Moser,  Newton,  Reynolds,  Seaton,  Wale, 
Wilson,  Wilton,  Yeo. 

Mr.  Chairman  reported  that  he  had  received  the  Resolutions  of  the  Society  as 
follows. 

'  Strand.  Decr  23rd  1760. 
Committee  on  the  Artists  Letter. 

The  Letter  from  Mr.  F.  Hayman  concerning  an  Exhibition  was  read. 
Agreed  that  the  Artists  have  Permission  to  make  an  Exhibition  in  the  Society's  Room 
at  such  time  and  on  such  terms  as  the  Society  shall  think  proper  &  convenient. 

A  Motion  was  made  that  the  Time  for  the  Exhibition  do  not  exceed  4  weeks  and  in 


ARTISTS  OF  GREAT   BRITAIN  123 

those  weeks  the  Wednesday's  to  be  excepted  those  Days  being  the  Meetings  of  the 

Society. 

Agreed  to. 

The  Question  being  put  whether  the  Pictures  painted  for  the  Premiums  may  be 
exhibited  at  the  same  time  with  those  sent  in  by  the  Artists. 
It  passed  in  the  Affirmative. 

Agreed  that  the  four  weeks  Exhibition  be  within  the  time  in  which  the  Pictures  painted 
for  the  Premiums  are  to  hang  up  after  their  Decision. 

That  the  Exhibition  be  confined  to  the  productions  of  the  Artists  resident  in  Great 
Britain  or  Ireland. 

That  all  Productions  in  the  Polite  Arts  coming  from  the  Committee  of  Artists  be 
received. 

That  the  Productions  of  all  other  Artists  in  Polite  Arts  be  also  received. 

That  no  Production  be  received  except  the  Name  of  the  Artist  be  sent  herewith. 

That  the  Exhibition  be  free  &  open  to  the  Public  at  proper  Hours  &  under  proper 
Regulations.' 

The  above  resolutions  being  read  were  found  such  as  could  not  be  complied  with. 

Resolved.    That  some  other  Place  be  thought  on  for  the  Exhibition. 

Resolved.  That  Messrs.  REYNOLDS  and  (James)  PAINE  be  desired  to  look  out  for 
a  convenient  place,  and  report  the  same  to  this  Comee  at  their  next  Meeting. 

Resolved.     That  the  General  Meeting  be  postponed  till  a  proper  Place  is  fixt  on. 

16  Feb.  1761.    Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Collins,  Dalton,  Gwynn,  Hone,  McArdell,  Moser,  Newton,  Reynolds, 
Rooker,  Seaton,  Wale,  Wilson,  Wilton,  Yeo. 

[A  General  Meeting  to  be  called  next  Thursday  at  6  o'clock.] 

19  Feb.  1761.    General  Meeting.     Mr.  HAYMAN  in  the  Chair. 

The  Committee  have  several  Rooms  under  consideration. 

Resolved.  That  so  soon  as  the  Committee  have  determined  on  a  Room  it  be 
advertised. 

Resolved.    That  a  General  Meeting  be  called  7th  April  next. 

4  March,  1761.    Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Collins,  Gwynn,  McArdell,  Moser,  Newton,  Rooker,  Seaton,  Wale, 
Wilson,  Wilton,  Yeo. 

Messrs.  CHAMBERS  and  WILTON  reported  that  they  had  agreed  with  Mr.  Cock  for  the 
use  of  his  Room  in  Spring  Gardens  for  the  month  of  May  at  the  sum  of  £40. 

Resolved.  That  an  advertisement  be  put  in  the  Front  of  the  Daily  Advertiser,  the 
Public  Advertiser '  and  in  the  London  Cronicle. 

The  Artists  of  Great  Britain  and  Ireland  were  desired  to  have  their  performances 
ready  by  the  27th  April. 

Note.  A  General  Meeting  will  be  held  at  this  Place  on  Tuesday  7th  April  next  at 
6  o'clock  in  the  Evening  to  which  all  Artists  in  Painting.  Sculpture  and  Architecture  are 

invited. 

By  order  of  the  Committee 

F.  M.  NEWTON. 
Mem.     Mrs.  MERCIER  was  proposed  to  take  care  of  the  Miniatures. 

1  The  advt.  in  Public  Advertiser,  28  April,  1761,  is  given  in  full  in  Pye,  p.  103. 

R  2 


i24  PAPERS  OF  THE  SOCIETY   OF 

11  March,  1761.     Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Hone,  M°Ardell,  Moser,  Newton,  Reynolds,  Rooker,  Wale,  Wilson, 
Wilton. 

Took  into  consideration  the  Catalogue. 

Resolved.  That  there  be  a  Frontispiece.  The  several  Members  of  the  Committee 
are  desired  to  consider  of  a  Proper  Subject,  &  to  bring  them  either  in  writing  or  a  Sketch 
next  Meeting. 

[Resolved.  Mrs.  Mercier  appointed  to  look  after  the  Miniatures.  &c.  The  Exhn  to 
open  on  Thursday.  7th  May.] 

18  March,  1761.     Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Gwynn,  Hone,  M°Ardell,  Moser,  Newton,  Seaton,  Wale, 
Wilson,  Yeo. 

Mr.  HONE  and  Mr.  WALE  produced  two  Sketches  for  a  Frontispiece. 

23  March,  1761.     Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Collins,  Gwynn,  Hone,  McArdell,  Moser,  Reynolds,  Seaton,  Wale,  Yeo. 

Resolved.  That  the  Design  approved l  be  finish'd  and  given  to  Mr.  (Charles)  GRIGNIPN 
(the  Elder)  to  be  done  with  all  convenient  speed. 

Resolved.    That  the  advertisement  be  continued  in  the  Daily  and  Public. 

7  April,  1761.     General  Meeting.     Present  67  Gentlemen.     Mr.  HAYMAN  in  the  Chair. 

Resolved.  That  all  the  Money  arrising  from  the  Present  Exhibition  (after  paying  the 
necessary  expences)  be  applied  towards  the  Relief  of  Indigent  Artists  and  their  Familys. 

Mr.  (William}  HOGARTH  having  made  a  Proposal  for  the  Society  associating— 

Unanimously  agreed  that  this  Society  for  the  future  should  be  called  The  Free 
Professors  of  Painting,  Sculpture  and  Architecture.2 

And  that  the  said  Society  should  from  henceforward  enter  into  an  amicable  union  in 
order  to  promote  a  mutual  interest,  and  at  proper  Meetings  concert  such  Measures  as  may 
best  establish  these  Arts  on  a  right  Footing  suitable  to  the  Genius  of  this  Country,  &c. 

Resolved.    That  the  Members  of  the  Society  be  chosen  by  Ballot. 

14  April,  1761.     Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Gwynn,  Hone,  M"Ardell,  Moser,  Newton,  Rooker,  Seaton,  Wale, 
Wilson,  Wilton,  Yeo. 

Order'd.  That  a  Book  be  bought  to  inscribe  the  Minutes  of  this  Committee  &  the 
General  Meetings.  [Mr.  NEWTON  is  desired  to  get  the  Minutes  transcribed.  The  Adver- 
tisements to  be  continued  in  the  Daily  and  Public  Advertisers  alternately.] 

21  April,  1761.    Committee.    Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Gwynn,  Hone,  McArdell,  Moser,  Newton,  Seaton,  Wale, 
Wilson,  Yeo. 

'  The  approved  design  was  by  Samuel  Wale. 

This  proposal  does  not  appear  to  have  been  acted  on,  as  nothing  further  is  heard  of  it.  The 
artists  who  continued  to  exhibit  with  the  Society  of  Arts,  &c.,  afterwards  called  themselves  '  The 
Free  Society '. 


ARTISTS  OF  GREAT  BRITAIN  125 

[Discussed  details  of  Exhibition.  Four  men  wanted  besides  Mrs.  Mercier,  viz.  one  for 
Room,  one  to  sell  the  Catalogues,  &  two  to  keep  the  stairs.  Catalogues  at  one  shilling, 
with  two  prints  designed  by  HOGARTH.] 

24  April,  1761.     Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Collins,  Gwynn,  Hone,  McArdell,  Moser,  Newton,  Reynolds,  Rooker,  Seaton, 

Wale,  Wilson,  Wilton,  Yeo. 

Resolved.    That  it  is  the  Opinion  of  this  Committee  that  Mr.  HOGARTH'S  name  should 

be  omitted  in  the  Advertisement,  but  to  remain  as  at  present  if  Mr.  HOGARTH  chooses  it. 
Mr.  REYNOLDS  having  mentioned  a  request  from  Lady  Rockingham  for  the  use  of  the 

Room  for  one  Night  for  a  Concert- 
Resolved.    That  she  have  the  Room  for  one  Night  only  for  that  purpose. 

30  April,  1761.    Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Chambers,  Collins,  Gwynn,  Hone,  M°Ardell,  Moser,  Newton,  Reynolds, 
Rooker,  Seaton,  Wale,  Wilson,  Wilton,  Yeo. 

Resolved.  That  those  Artists  who  have  exhibited  this  Year  at  the  Society's  Room  in 
the  Strand  (if  desirous)  may  be  permitted  to  exhibit  at  the  present  Exhibition  in  Spring 
Gardens  provided  there  is  room  left  after  all  the  Works  of  the  Society  at  the  Turk's  Head 
be  hung  up—  all  Duplicates  excepted. 

Resolved.  That  it  be  recommended  to  the  General  Meeting  to  pass  a  Law  to  prevent 
the  trimming  on  both  sides. 

(The  Exhibition  was  opened  at  the  Great  Room,  Spring  Gardens,  Charing  Cross, 

9th  May,  1761.) 

LOOSE  PAPERS.     No.  4.    Society's  Papers,  Bills,  &c.,  &c.,  in  1761. 

1.  Mrs.  Wynch.     1761.     Bill  for  Dinners. 

2.  Mr.  Newton's  Bill  for  printing.  &c.     Lewis  printer.     1761. 

3.  Weston  'Carpintor'.     1761. 

4.  Newton.    1761. 

5.  Mr.  Franklin.     1761.     Printers  Bill. 

6.  Palmer.     Glasier  for  Glass.     1761. 

7.  Mr.  WALE.     Expences  of   the    Illumination  4*''   June    1761.     Pd  25"'    July   1761. 
£42-3-10. 

Expences  of  the  Illumination  and  Firework  on  His  Majesty's  Birth  Day  June  4th  1761. 

£    s.  d. 

To  the  Linnen  Draper's  Bill       ....                .  4  18  9 

Ironmonger's  D° i     2  10 

Smith's  D° .  i     5  o 

Carpenter's  D°         .                .                .        .        .  9    5  10 

Lamplighter's  D° 3  13  o 

Expences  for  Wax  Turpentine  &c.         .        .        .  2  n  4 

To  the  Colourman's  Bill i  19  i 

£24  15  10 


126  PAPERS   OF  THE  SOCIETY  OF 

To  designing  &  executing  great  Part  of  the  Transparency 

&  to  Mr.  GWYN  (John  Givynn)  for  his  superintendency  15  15    o 

To  Assistance  in  the  Execution 990 

To  Mr.  Johnson  for  Rockets 2  14    o 


52  13  10 
Deduct  Paid  by  the  Club  out  of  their  forfeits    .         .         .       10  10    o 


£42    3  10 

(sgd)     F.  M.  NEWTON. 
8.  Constables.     Bill  for  attendance  (at  the  Turk's  Head— receipted  by  2  constables). 

12  June,  1761.    Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Collins,  Gwynn,  McArdell,  Moser,  Newton,  Reynolds,  Seaton,  Wale, 
Wilton,  Yeo. 

[Consideration  of  bills  &  expenses  of  the  Exhibition.] 

16  June,  1761.     Committee.     Mr.  WILSON  in  the  Chair. 

Messrs.  Collins,  Dalton,  Gwynn,  Hone,  McArdell,  Moser,  Newton. 
[Bills  ordered  to  be  paid,  including  those  of  GRIGNION  &  NEWTON.] 

23  June,  1761.     General  Meeting.     Present  61  Gentlemen.     Mr.  HAYMAN  in  the  Chair. 

Resolved.  That  a  sum  not  exceeding  .£100-0-0  be  distributed  by  the  Committee  in 
charity  to  such  objects  as  may  be  thought  worthy. 

The  Minute  expressing  that  the  whole  sum  collected  should  be  given  in  Charity  being 
first  repealed. 

Resolved.  That  Mr.  NEWTON  be  desired  to  accept  25  guineas  for  a  Piece  of  Plate  with 
the  Thanks  of  this  Society. 

Resolved.  That  the  expence  of  the  Illumination  4"'  June  be  paid  by  a  General 
Subscription — the  same  to  be  voluntary. 

Resolved.    That  the  Exhibition  for  next  year  be  advertised. 

27  June,  1761.     Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Dalton,  McArdell,  Moser,  Newton,  Wale,  Wilson,  Yeo. 

[Resolved.  That  there  be  a  President  and  a  Secretary  chosen  from  and  by  the 
Committee. 

That  the  Committee  be  elected  by  Ballot  annually  in  November,  &c. 
Rules  for  conducting  the  meetings,  &c.] 

7  July,  1761.     General  Meeting.     Present  37  Gentlemen.     Mr.  HAYMAN  in  the  Chair. 

A  Motion  being  made  &  seconded.  That  No  Person  should  be  admitted  to  exhibit 
with  this  Society  who  exhibits  in  any  other  Place  that  Year,  is  passed  in  the  affirmative. 

Repealed  the  motion  that  the  Expence  of  the  Illumination  should  be  paid  by  a  Voluntary 
subscription.  &  Resolved.  That  the  Expence  be  paid  out  of  the  Stock  remaining  of  the 
Exhibition  1760. 

Mem.    That  Messrs.  MOSER  and  PAINE  be  the  Stewards  for  the  next  4"'  June. 


ARTISTS  OF  GREAT   BRITAIN  127 

25  July,  1761.     Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Dalton,  Gwynn,  Moser,  Newton,  Reynolds,  Seaton,  Wale,  Wilton,  Yeo. 
[Charities  proposed  as  follows :—  £   s     d 

To  Mrs.  MONAMY  ...  .       10  10    o 

Mr.  BROOKING'S  Children         .        .       10  10    o 

Mrs.  MERCIER 10  10    o 

Mr.  STEVENS 440 

Widow  HOLLAND     .        .  -33° 

Mr.  MAURER 55° 

Mr.  LA  CAVE 440 

Mrs.  MAZELL    .  .  55° 

Mrs.  REASON    .  .  55° 

Mr.  OAKLY  .        55° 

Mrs.  RENELS     .  -55° 

£69    6    o] 


31  July,  1761.     Committee.     Mr.  HAYMAN  in  the  Chair. 

Messrs.  Dalton,  Gwynn,  Hone,  Moser,  Newton,  Reynolds,  Seaton,  Wale,  Wilson. 

[Mr.  NEWTON  reported  that  he  had  purchased  £225  os.  od.  3%  Consol  Ann.  at  the 
Bank,  which  cost,  with  commission  £180  us.  yd. 

Came  to  the  following  determination  in  regard  to  the  Charity:— 

£    s.    d. 

To  Mrs.  MONAMY         .        .        .        .      '  10.  10    o 
Mrs.  BROOKING'S  3  Children  .        .        10  10    o 

N.B.    To  be  paid  to  Mrs.  B.  and  if  the  Eldest  can  be 
apprenticed  for  £5-5-0  ye  same  to  be  complied  with.) 

Mrs.  MERCIER          .        .        .        .  10  10    o 

Mr.  STEVENS 440 

Widow  HOLLAND— paid  Mr.  Wilson  33° 

Mr.  MAURER 55° 

Mr.  LA  CAVE 440 

Mrs.  MAZELL 55° 

Mrs.  REASON 55° 

Mr.  OAKLY 55° 

Mrs.  RENELS 55° 

Mrs.  VANDERMYN      .        .        ,        .  440 

£13  10    o 


Mem.  that  the  Widow  WELDON  receive  £5-5-0  at  the  discretion  of  Mr.  HOGARTH.] 


128 


PAPERS   OF  THE   SOCIETY   OF 


INDEX   OF   NAMES  OF  ARTISTS,  AND  OF  THOSE  WHO   RECEIVED 

CHARITY 


BROOKING,  MRS.    (Widow  of  Charles  Brooking, 
1723-1759,  marine  painter.) 
1761.  July  25,  July  31. 

CAVE,  LA.     See  La  Cave. 

CHAMBERS,   WILLIAM   (aftenvards  Sir)  (1726- 
1 796).    Architect. 

1759.  Nov.  12,  Dec.  i.  1760.  Jan.  19, 
Feb.  2,  May  15,  Nov.  14.  1761.  Jan.  16, 
Feb.  16,  Mar.  4,  Mar.  u,  Mar.  18,  Apr.  14, 
Apr.  21,  Apr.  30. 

COLLINS,  WILLIAM  (d.  1793).     Sculptor. 

1759.  Nov.  12,   Dec.  i,   Dec.  22.     1760. 
Jan.  19,  Mar.  18,  May  15,  Nov.  7,  Nov.  14, 
Dec.  8.     1761.  Feb.   16,   Mar.   4,   Mar.  23, 
Apr.  24,  Apr.  30,  June  12,  June  16. 

DALTON,  RICHARD  (1715?-! 791).  Draughtsman. 

1750.   Nov.   12,    Dec.    i,  Dec.  22.     1760. 

Jan.  19,  Feb.  2,  Mar.  18,  Nov.  7,  Nov.  14. 

1761.   Feb.  16,  June  16,  June  27,   July  25, 

July  31- 

GRIGNION,  CHARLES  (the   Elder)  (1717-1810). 
Engraver. 
1761.  Mar.  23,  June  16. 

GWYNN,  JOHN  (d.  1786).    Architect. 

1760.  Nov.    14,    Dec.   8.     1761.  Jan.   16, 
Feb.  16,  Mar.  4,  Mar.  18,  Mar.  23,  Apr.  14, 
Apr.  21,  Apr.  24,  Apr.  30;   Loose  Papers, 
No.  4  (7) — after  Apr.  30 ;  June  12,  June  16, 
July  25,  July  31. 

HAYMAN,  FRANCIS  (1708-1776).     Painter. 

1769.  Nov.  12,  Dec.  i,  Dec.  22.  1760. 
Jan.  19,  Feb.  2,  Feb.  26,  Mar.  18,  Mar.  26, 
Apr.  2,  May  12,  May  15,  May  23,  Nov.  7, 
Nov.  14,  Nov.  25,  Dec.  8.  1761.  Jan.  16, 
Feb.  16,  Feb.  19,  Mar.  4,  Mar.  n,  Mar.  18, 
Mar.  23,  Apr.  7,  Apr.  14,  Apr.  21,  Apr.  24, 
Apr.  30,  June  12,  June  23,  June  27,  July  7, 
July  25,  July  31. 

HOGARTH,  WILLIAM  (1697-1764).     Painter  and 
engraver. 

1761.  Apr.  7,  Apr.  21,  Apr.  24,  July  31. 


HOLLAND,  '  WIDOW.' 

1761.  July  25,  July  31. 

HoNE,NATHANiEL(i7i8-i784).  Portrait  painter. 

1759.  Nov.    12,    Dec.  i,    Dec.  22.     1760. 
Feb.  2,  Mar.  18,  May  12,   May  15,    Nov.  7, 
Nov.  14,  Nov.  25,   Dec.  8.      1761.  Feb.  16, 
Mar.  n,  Mar.  18,  Mar.  23,  Apr.  14,  Apr.  21, 
Apr.  24,  Apr.  30,  June  16,  July  31. 

LA  CAVE,  F.  MORELLON  (fl.  1725-1765).  En- 
graver. (Born  in  France ;  pupil  of  Picart  ; 
engraved  his  own  portrait  after  Crozani,  and 
several  other  portraits,  &c.  In  June,  1765, 
he  was  recommended  to  receive  four  guineas 
from  the  Charity,  but  the  money  was  not 
claimed.  The  inference  is  that  he  died  that 
year,  or  that  he  returned  to  France.  Nagler 
calls  him  '  Franz  Morellan  de  la  Cave '.  Red- 
grave has  confused  him  with  P.  Le  Cave, 
the  water-colour  painter,  and  gives  a  wrong 
date — 1769 — for  an  application  for  assistance 
to  the  Society  of  Artists.  Benezit  calls  him  : 
'  Dessinateur  et  graveur  en  Angleterre  de 
1726  a  1766.  Peut-etre  fils  de  T.  La  Cave, 
d'origine  franfaise.') 
1761.  July  25,  July  31. 

LOCKMAN,  MR.  (?an  artist). 

1760.  Nov.  14. 

M°ARDELL,  JAMES  (17297-1765).  Mezzotint 
engraver. 

1760.  Nov.    14,    Nov.  25,  Dec.  8.      1761. 
Jan.  16,  Feb.  16,  Mar.  4,  Mar.  n,  Mar.  18, 
Mar.  23,  Apr.  14,  Apr.  21,  Apr.  24,  Apr.  30, 
June  12,  June  16,  June  27. 

MAURER,  MR.  (Redgrave  and  Bryan  give  the 
name  of  '  J.  Maurer ',  who  drew  and  engraved 
several  views  of  London,  dated  1741-46. 
Bryan  says  he  was  born  in  Switzerland. 
The  name  '  Mr.  Maurer  '  also  occurs  among 
the  subscribers  to  Kneller's  Academy  in  1713. 
— Vertue  MSS.,  B.M.  Add.  23082.  Vertue 
has  added  a  note  :  '  Silver  works,'  against  the 
name,  so  Maurer  probably  began  as  an  en- 
graver on  silver.) 

1761.  July  25,  July  31. 


ARTISTS  OF  GREAT   BRITAIN 


129 


MAZELL,  MRS.  (Perhaps  mother  of  PeterMazell, 
the  engraver,  who  exhibited  at  the  Society  of 
Artists  from  1761  until  i79f,  and  at  the  Royal 
Academy  in  1797.) 
1761.  July  25,  July  31. 

MERCIER,  MRS.  (DOROTHY).  (Widow  of  Philip 
Mercier,  1689-1760,  portrait  painter.  She 
exhibited  four  miniatures  and  two  flower 
pieces  in  water-colours  with  the  Society  of 
Artists  in  1761.) 

1761.  Mar.  4,  Mar.  n,  July  25,  July  31. 

MONAMY,    MRS.     (Widow  of  Peter  Monamy, 
1689?-!  749,  marine  painter.  Cf.Vertue  MSS., 
B.M.  Add.  23074,  f.  5.) 
1761.  July  25,  July  31. 

MOSER,  GEORGE  MICHAEL  (1704-1783).  Chaser 
and  enameller. 

1759.  Nov.  12,  Dec.  i.  1760.  Jan.  19,  Feb.  2, 
Feb.  26,  Mar.iS,  May  12  ('  To  attend  Mr.  New- 
ton in  the  Chaise  of  a  Piece  of  Plate'),  May  15, 
Nov.  7,  Nov.  14,  Nov.  25,  Dec.  8.  1761. 
Jan.  16,  Feb.  16,  Mar.  4,  Mar.  n,  Mar.  18, 
Mar.  23,  Apr.  14,  Apr.  21,  Apr.  24,  Apr.  30, 
June  12,  June  16,  June  27,  July  7,  July  25, 
July  31. 

NEWTON,  FRANCIS  MILNER  (1720-1794).  Por- 
trait painter. 

1759.  Nov.  12  (elected  Secretary),  Dec.  i, 
Dec.  22.  1760.  Feb.  26,  Mar.  18,  May  12 
(To  receive  a  Present  to  the  value  of  Twenty 
Guineas),  May  15,  May  23,  Nov.  7,  Nov.  14, 
Nov.  25,  Dec.  8.  1761.  Jan.  16,  Feb.  16, 
Mar.  4,  Mar.  n,  Mar.  18,  Apr.  14  ('  To  get  the 
Minutes  transcribed  in  a  Book'),  Apr.  21, 
Apr.  24,  Apr.  30,  June  12,  June  16,  June  23 
('  To  be  desired  to  accept  2$  guineas  for  a  Piece 
of  Plate'),  June  27,  July  25,  July  31. 

OAKLY,  MR. 

1761.  July  25,  July  31. 

PAINE,  JAMES  (1725-1789).    Architect. 
1761.  Jan.  16,  July  7. 

REASON,  MRS. 

1761.  July  25,  July  31. 

RENELS,  MRS. 

1761.  July  25,  July  31. 

REYNOLDS,  JOSHUA  (afterwards  Sir)  (1723- 
1792).  Portrait  painter. 

1769.  Nov.  12.  1760.  Feb.  2,  Feb.  26, 
Mar.iS,  May  12  ('  To  return  thanks  to  Mr.  John- 


son  for  his  assistance '),  May  15,  Nov.  14, 
Nov.  25,  Dec.  8.  1761.  Jan.  16  (To  find  an 
Exhibition  Room),  Feb.  16,  Mar.  u,  Mar.  23, 
Apr.  24  ('  Mentioned  Lady  Rocking/tain's  re- 
quest'), Apr.  30,  June  12,  July  25,  July  31. 

ROOKER,  EDWARD  (1712  ?-i774).     Engraver. 

1759  Nov.  12,  Dec.  i,  Dec.  22.  1760. 
Jan.  19,  Feb.  26,  Nov.  14,  Dec.  8.  1761. 
Feb.  16,  Mar.  4,  Mar.  n,  Apr.  14,  Apr.  24, 
Apr.  30. 

SANDBY,  THOMAS  (1721-1798).     Architect  and 
draughtsman. 

1759.  Nov.  12.     1760.  Jan.  19. 

SEATON,  CHRISTOPHER  (d.  1 768).  Seal  engraver. 
1759.  Nov.  12,  Dec.  i,  Dec.  22.  176O. 
Jan.  19,  Feb.  2,  Feb.  26,  Mar.  18,  May  12, 
May  15,  Nov.  7,  Nov.  14,  Nov.  25,  Dec.  8. 
1761.  Jan.  16,  Feb.  16,  Mar.  4,  Mar.  18, 
Mar.  23,  Apr.  14,  Apr.  21,  Apr.  24,  Apr.  30, 
June  12,  July  25,  July  31. 

STEVENS,  MR.  (Perhaps  John  Stevens,  the 
engraver,  mentioned  by  Redgrave,  who  says  : 
'  He  practised  in  London  about  the  middle 
of  the  eighteenth  century.  He  engraved  with 
C.  Grignion  a  series  of  English  views.'  This 
was,  no  doubt,  the  Stevens  who  engraved 
some  views  of  London  after  Canaletto. 
Chaloner-Smith  mentions  'H.  Stevens',  who 
in  1729  painted  a  portrait  of  Dr.  Jacob  dc 
Castro  Sarmento,  which  was  engraved  in 
mezzotint  by  A.  Miller.) 
1761.  July  25,  July  31. 

STRANGE,  ROBERT  (afterwards  Sir)  (1721-1792). 
Engraver. 

1759.  Nov.  12,  Dec.  i,  Dec.  22.  1760. 
Feb.  2,  Feb.  26,  Mar.  18,  May  12,  May  15. 

VAN  DER  MYN  or  VAN  DER  MIJN,  MRS. 
(Formerly  Susanna  Bloemendael,  widow  of 
Herman  Van  der  Myn,  portrait  and  history 
painter,  who  was  born  in  Amsterdam,  1684, 
and  died  in  London,  1741,  leaving  five  sons 
and  one  daughter,  all  of  whom  were  painters. 
The  Mrs.  Van  der  Mijn  who  exhibited  por- 
traits and  flower  and  fruit  pieces  at  the  Free 
Society,  1764-72,  was  probably  the  wife  of 
one  of  the  sons.) 
1761.  July  31. 

WALE,  SAMUEL  (d.  1786).     Painter. 

1759.  Nov.  12,  Dec.  i,  Dec.  22.  176O. 
Jan.  19,  Feb.  2,  Feb.  26,  Mar.  18,  May  12, 


i3o       SOCIETY    OF  ARTISTS   OF  GREAT   BRITAIN 


May  15,  Nov.  7,  Nov.  14,  Nov.  25.  1761. 
Jan.  16,  Feb.  16,  Mar.  4,  Mar.  n,  Mar.  18 
('  Produced  Sketch  for  Frontispiece '),  Mar.  23 
('his  Design  approved'),  Apr.  14,  Apr.  21, 
Apr.  24,  Apr.  30 ;  Loose  Papers,  No.  4  (7) — 
after  Apr.  30;  June  12,  June  27,  July  25, 
July  31. 

WELDON,  '  WIDOW  '.  (The  name  'Hen.Welden* 
appears  among  the  subscribers  to  Cheron  and 
Vanderbank's  Academy  in  St.  Martin's  Lane, 
in  1720-  William  Hogarth  was  a  subscriber 
at  the  same  time.— Vertue  MSS.,  B.M.  Add. 
23082,  ff.  35,  36.) 
1761.  July  31. 

WILSON,  RICHARD  (1714-1782).   Landscape  and 
portrait  painter. 

1759.    Nov.   12,    Dec.   i,    Dec.  22.      1760. 
Jan.  19,  Feb.  2,  Feb.  26,  Mar.  18,  May  12, 


May  15,  Nov.  7,  Nov.  14,  Nov.  25,  Dec;  8. 
1761.  Jan.  16,  Feb.  16,  Mar.  4,  Mar.  u, 
Mar.  18,  Apr.  14,  Apr.  21,  Apr.  24,  Apr.  30, 
June  16,  June  27,  July  31  (Received 3  Guineas 
for  Widow  Holland}. 

WILTON,  JOSEPH  (1722-1803).     Sculptor. 

1759.  Nov.  12,  Dec.  i,  Dec.  22.  1760. 
Jan.  19,  Feb.  2,  Feb.  26,  Mar.  18,  May  12, 
May  15,  Nov.  14,  Nov.  25.  1761.  Jan.  16, 
Feb.  16,  Mar.  4,  Mar.  n,  Apr.  14,  Apr.  24, 
Apr.  30,  June  12,  July  25. 

YEO,  RICHARD  (d.  1779).     Medallist. 

1759.  Nov.  12,  Dec.  i,  Dec.  22.  176O. 
Jan.  19,  Feb.  2,  Mar.  18,  May  12,  May  15, 
Nov.  14,  Nov.  25,  Dec.  8.  1761.  Jan.  16, 
Feb.  16,  Mar.  4,  Mar.  18,  Mar.  23,  Apr.  14, 
Apr.  21,  Apr.  24,  Apr.  30,  June  12,  June  27, 
July  25. 


List  of  Members  of  the  Walpole  Society 


1917-1918. 


The   Rt.    Hon.    Lord   Aberdare  of 

Duffryn. 
Royal     Academy     of    Arts,     The 

Library  of. 

C.  Morland  Agnew,  Esq. 
G.  Colin  Agnew,  Esq. 
Sir  George  W.  Agnew,  Bart.,  M.P. 
Charles  Aitken,   Esq.,  Keeper,   The 

National  Gallery,  British  Art. 
A.  A.  Allen,  Esq.,  M.P. 
Messrs.  Edw.  G.  Allen  &  Son. 
Sir  Walter  Armstrong. 
Thomas  Ash  by,  Esq.,  Litt.D. 

Sir  Hickman  Beckett  Bacon,  Bart. 

J.  W.  Bacon,  Esq. 

C.  H.  Collins  Baker,  Esq.,  Keeper  and 

Secretary,  The  National  Gallery. 
Mrs.  Sidney  Ball. 
John  Ballinger,  Esq.,  Librarian  of 

the  National  Library  of  Wales. 
Mrs.  Mary  M.  Banks. 
SirC.  A.  Montague  Barlow,  K.B.E., 

M.P. 

R.   Bateman,    Esq.,    Curator,   Man- 
chester IVhilworth  Institute. 
The  Earl  Bathurst,  C.M.G. 
A.  R.  Bayley,  Esq.,  F.R.Hist.S. 
Harold  Bayley,  Esq. 
The  Earl  Beauchamp,  K.G. 
Arthur  C.  Behrend,  Esq. 
Mrs.  Clara  Bell. 
C.  F.  Bell,  Esq.,  F.S.A.,  Keeper  of 

the  Department  of  Fine  Art,   The 

Ashmolean  Museum,  Oxford. 
Anthony  Belt,  Esq. 
H.  Bendixson,  Esq. 
Laurence  Binyon,  Esq.,  Asst.  Keeper 

of  Prints  and  Drawings,  British 

Museum. 

F.  Frost  Blackman,  Esq.,  F.R.S. 
R.  K.  Blair,  Esq. 
Sam  D.  Bles,  Esq. 
Bodleian  Library,  Oxford. 
Bootle.     Public  Library. 
Boston  Athenaeum,  Boston,  Mass., 

U.S.A. 
Boston     Museum    of    Fine    Arts, 

Mass.,  U.S.A. 


Boston  Public  Library,  Mass  ,U.S.A. 

The  Rev.  F.  C.  Bozman. 

Allan  H.  Bright,  Esq. 

The  Rev.  F.  E.  Brightman. 

Brighton.     Public  Library. 

British     Museum,    Department    of 

Printed  Books. 
British     Museum,    Department    of 

Prints  and  Drawings. 
James  Britten,  Esq. 
Miss  Margaret  Brooke. 
Eric   Brown,   Esq.,   Director  of  the 

National  Gallery  of  Canada. 
Miss  Henrietta  Brown. 
Oliver  F.  Brown,  Esq. 
Messrs.  Browne  &  Browne. 
Charles  Richard  Buckley,  Esq. 
The  Rev.  Herbert  Bull. 
Miss  Margaret  H.  Bulley. 
Burlington  Fine  Arts  Club. 
Ayerst  H.  Buttery,  Esq. 

H.  Johnstone  Campbell,  Esq. 
Canada,  The  National  Gallery  of. 
James     L.     Caw,     Esq.,     Director, 

National  Gallery  of  Scotland. 
Arthur  B.  Chamberlain,  Esq. 
John  E.  Champney,  Esq. 
G.  A.  F.  M.  Chatwin,  Esq. 
Miss  Alice  D.  Clarke. 
George  Clausen,  Esq.,  R.A. 
A.  B.  Clifton,  Esq. 
Sydney  C.  Cockerel!,  Esq.,  Director, 

Filzwilliam  Museum,  Cambridge. 
Messrs.    P.   and    D.   Colnaghi  and 

Obach. 

Sir  Sidney  Colvin,  D.Litt. 
Sir  Edward  T.  Cook,  K.B.E. 
Herbert    F.    Cook,     Esq.,     F.S.A, 

Trustee  of  the  National  Portrait 

Gallery. 

Royal  Cortissoz,  Esq. 
The  Rt.  Hon.  the  Earl  of  Crawford, 

K.T.,  P.C.,  LL.D.,  Trustee  of  the 

National  Portrait  Gallery. 
Wilson  Crewdson,  Esq. 
The    Rt.    Hon.    the    Marquess    of 

Crewe,  K.G.,  P.C. 


R.  H.  Curtis,  Esq. 

The  Rt.  Hon.  the  Earl  Curzon 

of    Kedleston,    K.G.,     G.C.S.I.. 

G.C.I. E.,     P.C.,     Trustee    of   the 

National  Gallery. 
Lionel  Cust,  Esq.,  C.V.O.,  F.S.A. 

Sir  Thomas  L.  Devitt,  Bart. 

E.  Rimbault  Dibdin,  Esq.,  Curator, 
The  Walker  Art  Gallery,  Liverpool. 

The  Viscount  Dillon,  Chairman  of 
Board  of  Trustees  of  National 
Portrait  Gallery. 

Arthur  Dixon,  Esq. 

Campbell  Dodgson,  Esq.,  Keeper  of 
Prints  and  Drawings,  British 
Museum. 

Captain  R.  Langton  Douglas,  Direc- 
tor, National  Gallery  of  Ireland. 

Dundee  Free  Library  Committee. 

Alfred  P.  Durlacher,  Esq. 

George  L.  Durlacher,  Esq. 

Lady  Durning-Lawrence. 

H.  L.  Ehrich,  Esq. 
The  Countess  of  Elgin. 
The  Rev.  William  C.  Emeris. 
H.  C.  Erhardt,  Esq. 
George  Eumorfopoulos,  Esq. 
Exeter.   The  Royal  Albert  Memorial 
Public  Library. 

Arnold  Fairbairns,  Esq. 
Miss  Helen  Farquhar. 
Miss  Feilding. 
Miss  Emily  Fellowes. 
H.  S.  Fernau,  Esq. 
Miss  C.  Jocelyn  Ffoulkes. 
A.  J.  Finberg,  Esq. 
The     Fitzwilliam    Museum,     Cam- 
bridge. 

The  Hon.  J.  W.  Fortescue,  C.V.O. 
Charles  Frederick  Fox,  Esq. 

E.  L.  Franklin,  Esq. 

The  Galignani  Library,  Paris. 
Percival  Gaskell,  Esq.,  R.E. 
J.  P.  Gilson,  Esq.,  Keeper  of  Manu- 
scripts, British  Museum. 
Thomas  Girtin,  Esq. 
Richard  Glazier,  Esq. 

F.  W.  Goodenough,  Esq. 

G.  Bruce  Gosling,  Esq. 
Richard  W.  Goulding,  Esq. 


Algernon  Graves,  Esq.,  F.S.A. 
Albert  Gray,  Esq.,  C.B.,  K.C. 
The  Rev.  John  Gray. 
James  Greig,  Esq. 
George  J.  Gribble,  Esq. 
Mrs.  Noel  Guinness. 
O.  Gutekunst,  Esq. 


Captain  Martin  Hardie. 

Dr.  H.  Nazeby  Harrington. 

The  Rt.  Hon.  Frederick  Leverton 

Harris,  P.C.,  M.P. 
Mrs.  James  Harrower. 
Charles  Henry  Hart,  Esq. 
Harold  Hartley,  Esq. 
Harvard  College  Library,Cambridge, 

Mass.,  U.S.A. 

Edward  Hasell,Esq.,M.R.C.S.(Eng.). 
The  Rev.  Stewart  D.  Headlam. 
Voltelin  Percy  Heath,  Esq. 
Joseph  Heaton,  Esq. 
George  Henderson,  Esq. 
Mrs.  G.  Walker  Heneage. 
Henry  Hering,  Esq. 
Miss  Mary  F.  S.  Hervey. 
The  late  Ivystan  Hetherington,  Esq. 
Captain  Arthur  M.  Hind. 
C.  Lewis  Hind,  Esq. 
Leopold  Hirsch,  Esq. 
Geoffrey  D.  Hobson,  Esq. 
Victor  T.  Hodgson,  Esq. 
W.  A.  Holder,  Esq. 
R.  M.  Holland-Martin,  Esq.,  C.B., 

F.S.A. 

J.  R.  Holliday,  Esq. 
C.     J.     Holmes,     Esq.,     Director, 

National  Gallery. 

The  late  Sir  Charles  Holroyd,  R.E. 
Hope    Collection    of    Engravings, 

Bodleian  Library,  Oxford. 
W.  Edgar  Home,  Esq.,  M.P. 
Mrs.  Francis  Howard. 
Henry  Howard,  Esq. 
The  Hon.  Hugh  Howard. 
C.  E.  Hughes,  Esq. 
Talbot  Hughes,  Esq. 
T.  Cann  Hughes,  Esq.,  F.S.A. 
H.  Hughes-Stanton,  Esq.,  A.R.A. 
Chas.  Henry  Hunt,  Esq. 
Mrs.  Charles  Hunter. 
J.  Hutchinson,  Esq. 
The    Venble.    Archdeacon    W.    H. 

Hutton. 
James  H.  Hyde,  Esq. 


The  Earl  of  Ilchester. 
Selwyn  Image,  Esq. 

Fred  W.  Jackson,  Esq. 

The  Hon.  Walter  J.  James,  R.E. 

The  Lady  Margaret  Jenkins. 

Herbert  S.  Job,  Esq. 

Miss  Lorna  A.  Johnson. 

Arthur  Kay,  Esq.,  F.S.A. 

Miss  Emily  G.  Kemp. 

Edward  G.  Kennedy,  Esq. 

Sir  Frederic  G.  Kenyon,  K.C.B., 
D.Litt.,  Director  and  Principal 
Librarian  of  the  British  Museum. 

Basil  King,  Esq. 

Messrs.  Knoedler  &  Co. 

Dr.  James  H.  W.  Laing. 

John  Lane,  Esq. 

Adrian  Leach,  Esq. 

Messrs.  Leggatt  Bros. 

Thomas  Barrett  Lennard,  Esq. 

George  E.  Leon,  Esq. 

Howard  C.  Levis,  Esq. 

The  London  Library. 

H.  Longden,  Esq. 

H.  Walter  Lonsdale,  Esq. 

Mrs.  Julian  G.  Lousada. 

A.  K.  Loyd,  Esq. 

Edward  V.  Lucas,  Esq. 

Theodore  Lucas,  Esq. 

Frits  Lugt,  Esq. 

Henry  E.  Luxmoore,  Esq. 

Lt.-Col.  George  B.  Croft  Lyons. 

The  Earl  of  Lytton. 

The  Hon.  Neville  Lytton. 

D.  J.  Macaulay,  Esq.,  M.D. 

D.  S.  MacColl,  Esq.,  LL.D.,  Keeper, 

The  Wallace  Collection. 
Major  Roderick  Mackenzie. 
Allan  McLean,  Esq. 
Miss  E.  Winifred  Madder. 
John  Maddocks,  Esq.,  J.P. 
Manchester.    Department  of  Educa- 
tion. 

Manchester  Public  Libraries. 
Manchester  Society  of  Architects. 
Manchester  Whitworth  Institute. 
John  Margetson,  Esq. 
Murray  Marks,  Esq. 
Edward  Marsh,  Esq.,  C.M.G. 
Prof.  C.  R.  Marshall. 
Alec.  Martin,  Esq. 


Miss  M.  Kathleen  Martin. 

Mrs.  Ena  Mathias. 

The  Medici  Society,  Ltd. 

Brigr.-General  Horatio  Mends. 

Metropolitan  Museum  of  Art,  New 

York,  U.S.A. 
Dr.  A.  H.  Millar. 
James    D.    Milner,    Esq.,   Director, 

National  Portrait  Gallery. 
G.  G.  Milner-Gibson-Cullum,  Esq, 

F.S.A. 

Mrs.  F.  Morrell. 
Harrison  Morris,  Esq. 
Lionel  B.  Mozley,  Esq. 

National  Portrait  Gallery,  The  Li- 
brary. 

Sir  Francis  A.  Newdigate-Newde- 
gate,  K.C.M.G. 

New  South  Wales.    Public  Library. 

New  York.  Metropolitan  Museum 
of  Art. 

New  York.     Public  Library. 

Paul  Nijhoff,  Esq. 

Wouter  Nijhoff,  Esq. 

Philip  Norman,  Esq.,  Hon.  LL.D., 
F.S.A. 

Robert  F.  Norton,  Esq.,  K.C. 

T.  Percy  Nunn,  Esq.,  M.A.,  D.Sc. 

Sir  John  Robert  O'Connell,  LL.D. 
Mrs.  Roger  Oldham. 
A.  P.  Oppc?,  Esq. 

Messrs.  J.  Palser  &  Sons. 

Col.  John  W.  R.  Parker,  C.B.,  F.S.A. 

Messrs.  E.  Parsons  &  Sons. 

Dr.  A.  V.  Peatling. 

Dyson  Perrins,  Esq.,  F.S.A. 

R.  William  Pettigrew,  Esq. 

Richard  A.  Pfungst,  Esq. 

Sir  Claude  Phillips. 

The  Rt.  Hon.  the  Earl  of  Plymouth, 

C  B.,  P.C.,  Trustee  of  the  National 
Gallery. 

Mrs.  R.  L.  Poole. 
Prof.  Arthur  Pope. 
W.  M.  Power,  Esq. 
Prof.  F.  M.  Powicke. 

Bernard  Quaritch,  Esq. 

E.  G.  Raphael,  Esq. 
Major    Sir    Herbert    H.    Raphael, 
Bart.,  M.P. 


Mrs.  C.  Rashdall. 

W.  G.  Rawlinson,  Esq. 

Reform  Club,  The  Library. 

John  Rennie,  Esq. 

T.  H.  Riches,  Esq. 

Messrs.  James  Rimell  &  Son. 

Frank  Rinder,  Esq. 

H.  D.  Roberts,  Esq.,  Director,  Public 

Library,  Museums  and  Fine  Art 

Galleries,  Brighton. 
Miss  M.  Windeatt  Roberts. 
W.  Roberts,  Esq. 
Robert  Ross,  Esq. 
The  Royal  Library,  Windsor  Castle. 
John  Lewis  Rutley,  Esq. 


Ernest  Salaman,  Esq. 

Sale  and  Ashton-upon-Mersey  Joint 

Free  Library. 
The  Sailers'  Company. 
The  Earl  of  Scarbrough,  K.C.B. 
Charles  H.  Scott,  Esq. 
Edgar  Seligman,  Esq. 
Monsieur  Georges  Seligman. 
J.  Henry  Sellers,  Esq. 
The  Lady  Alice  Shaw-Stewart. 
George  H.  Shepherd,  Esq. 
Sir  Frank  Short,  R.A.,  P.R.E. 
R.  Skinner,  Esq. 
Miss  Alice  Smith. 
H.  Watson  Smith,  Esq. 
The  Duchess  of  Somerset. 
Robert  Spence,  Esq.,  R.E. 
The   Rt.  Hon.   the   Earl   Spencer, 

K.G.,  G.C.V.O.,  P.C. 
SirlsidoreSpielmann,  C.M.G.,  F.S.A. 
Marion  H.  Spielmann,  Esq.,  F.S.A. 
Mrs.  A.  H.  Spokes. 
William  Barclay  Squire,  Esq.,  F.S.A. 
Edward  Stott,  Esq.,  A.R.A. 
Lieut.-Colonel  E.  F.  Strange. 
Walter  G.  Strickland,  Esq. 
Swansea,  County  Borough  of. 
Edmund  G.  Sykes,  Esq. 


T.  Slingsby  Tanner,  Esq. 
Arthur  a  B.  Terrell,  Esq. 
Sir  Herbert  Thompson,  Bart. 

D.  Croal  Thomson,  Esq. 

J.  A.  H.  Thursby-Pelham,  Esq. 

Arthur  Tooth,  Esq. 

W.  G.  Paulsen  Townsend,  Esq. 

Robert  Treen,  Esq. 

James  Tregaskis,  Esq. 

E.  W.  Tristram,  Esq. 

C.  Mallord  W.  Turner,.Esq. 
Miss  M.  H.  Turner. 


Sydney  Vacher,  Esq. 

The  Victoria  and  Albert  Museum. 


G.  E.  Wainwright,  Esq. 

Sir  Charles  Waldstein,  Litt.D. 

The  National  Library  of  Wales. 

The  National  Museum  of  Wales. 

Emery  Walker,  Esq.,  F.S.A. 

William  Ward,  Esq. 

Washington,  D.C.,  Library  of  Con- 
gress. 

Vernon  Watney,  Esq. 

Mrs.  H.  M.  Spencer  Watson. 

Robert  W.  S.  Weir,  Esq. 

Welbeck  Abbey.     The  Library. 

Francis  Wellesley,  Esq.,  J.P. 

Asher  Wertheimer,  Esq. 

Westminster  Public  Libraries. 

Mrs.  S.  H.  Whitbread. 

Fred.  A.  White,  Esq. 

Thomas  White,  Esq. 

Thomas  Whittaker,  Esq. 

Major  Nevile  R.  Wilkinson,  C.V.O.. 
F.S.A.,  Ulster  King  of  Arms, 

G.  C.  Williamson,  Esq.,  Litt.D. 

A.  B.  Willson,  Esq. 

Sir  H.  F.  Wilson,  K.C.M.G. 

Percy  Withers,  Esq. 

T.  Martin  Wood,  Esq. 

John  Wormald,  Esq. 


Members  are  particularly  requested  to  draw  the  attention  of  the 
Hon.  Secretary,  MR.  A.  J.  FINBERG,  47  Holland  Road,  Kensing- 
ton, London,  W.  14,  to  any  omissions  or  errors  in  the  above  list. 


N  Walpole  Society,  London 
12  The  volume  of  the 

W3  Walpole  Society 
v.6 


PLEASE  DO  NOT  REMOVE 
CARDS  OR  SLIPS  FROM  THIS  POCKET 

UNIVERSITY  OF  TORONTO  LIBRARY